Production News Headlines
Chauvet Professional Mavericks from Fumasoli Add Timeless Touch to L’Orage Concert At Arco d’Augusto
Spotlight FresneLEDs Deliver an Energy-Efficient Performance without Compromise for Production Bureau
Global Superstar Jason Derulo Delivers High-Energy “2Sides World Tour” Across Europe Using Wigwam Acoustics’ Meyer Sound Leo Family Rig
Robe for Roger Waters’ Us+Them Tour
Worldwide - Few artist activists on the planet have had more impact than Roger Waters whose live shows present a cerebrally charged mix of music, politics, social commentary and visual intelligence in performances that are as captivating and powerful as they are provocative.
Lighting designer Pryderi Baskerville has one of the most demanding lighting briefs in the industry to deliver this masterpiece of subversive industrial scale art, as well as the pleasure of working with a highly talented and focused creative team including creative director Sean Evans, production designer Jeremy Lloyd from Wonder Works, video director Richard Turner, production manager Chris Kansy and production director Andrew Zweck.
Pryderi has worked for Waters since 2013 and as LD / lighting director / lighting programmer since 2016. This Us+Them world touring cycle originally started in May 2017 and runs until December this year. Pryderi specified 97 Robe BMFL WashBeams for the stadium version of the shows and 57 BMFL Spots and eight BMFL Blades for the arena gigs.
Waters himself is involved with every step of the production for all his touring work.
With video a major part of the show – a media in which Waters has consistently innovated through the years – and particularly with the impressive 65-metre-wide upstage LED screen for the stadium shows and the fly-in Rolio projection surfaces that bisect the arena shows, Pryderi needed some seriously bright and reliable light sources. This led to the choice of Robe’s BMFLs among other lights on the rig.
“They are bright, offer great colours and an excellent throw as well as being lightweight considering their output,” he stated.
The BMFL WashBeams with their even higher output were a natural upgrade progression for the outdoor shows.
The stadium shows feature 15 BMFL WashBeams rigged above the LED Screen and another ten per side on two special PA mast tormentors.
These sleek PA towers were custom designed and built by WIcreations for this latest leg of the tour. Each one is a half metre diameter, matt black coated round steel tube for a fully streamlined and modern aesthetic. The PA rigging cradles holding the slim Clair Brothers arrays are rigged to the towers via an I-beam hoist system, and another one-tonne hoist is attached to the base of the tower with its steel travelling up the offstage side of the mast, hoisting up ten BMFL WashBeams along the integrated PA mast track.
Individual transparent rain shields offer effective weather protection and when in position, these form a perfect perpendicular line of downstage BMFLs each side.
Another 20 BMFL WashBeams are rigged on two off stage torms at each end of the LED Screen, ten units per torm.
Eight BMFL WashBeams are split over two FOH towers (four per tower), and at the base of each of the four FOH towers is a floor mounted BMFL WashBeam.
The warm-up stadium shows for this leg were Paris plus Lucca and Rome in Italy, and the entire Latin American tour is outdoors. The rest of the remaining shows, including all the Mexican dates, utilise the indoor arena system.
The arena show overhead lighting is rigged on three trusses with 12 BMFL Spots on the downstage truss.
Two of these are assigned to IR Trackers embedded in Waters’ IEMs, connected to the VYV Photon / Albion system for projection tracking, which provides positional information for the designated lights. Pryderi can select any of these lights to connect to the trackers, and during ‘Picture That’ all fixtures on the upstage truss track Waters. Saxaphone player Ian Ritchie also wears trackers on his person rather than in his IEMs, and he’s followed with lights during his solos in ‘Money’ and ‘Us and Them’.
Another 14 BMFL Spots are on the mid-stage truss and 15 on the upstage one. Two left and right vertical torms each feature six BMFL Spots per side, and on top of the stage left and right ‘bunkers’ are another four BMFLs per side. The bunkers are part of the sub-stage ‘technical underworld’ construction which protrude slightly above the deck and are convenient for positioning lights! Down below are custom designed areas housing monitor, playback and backline equipment.
The fixtures on the onstage trusses and side torms are all used for producing epic large scale looks and for selective backlighting / accents on performers. They do the ‘heavy lifting’ as Pryderi puts it, and as mentioned above, can also be linked to the tracking system, so multiple lights are used at various points in the show to highlight Waters.
The eight BMFL Blades in the bunker positions are used for side lighting, their precise shuttering is helpful in this role, and on the arena version show the BMFL count is completed with four BMFL Spots on the FOH lighting / video riser.
When ramped up to stadiums, the 15 BMFL WashBeams on top of the LED Wall provide both band backlight and massive imposing aerial looks while the BMFL WashBeams on the PA masts and offstage torms also provide big, bold, raw looks, as well as providing the band specials. They essentially replicate what’s happening on the arena show torms, but are augmented for the outdoor shows.
Twenty-two floor-based BMFL WashBeams provide fabulous, piercing aerial looks, and a backlight wash down onto and across the stage, and on this version of the show, luminaires are again linked to the tracking system and used for following Waters.
The eight BMFL WashBeams at FOH in the stadiums are utilised for band key lights and primary followspotting, and the four fixtures floor mounted at FOH pick out the giant pig that gets walked through the crowd in ‘Pigs (Three Different Ones)’.
The entire show is highly theatrical; as well as the high-impact visuals, automation and scenic props flying in and out, there are some big lighting moments, but essentially, it’s there to highlight performers, complement the video content and sit within the entire production as a harmoniously integrated component part of a large and detailed bigger picture – with Waters, his music and his incisive lyrics at the heart. The challenges for lighting are many.
Having the 16 x 19ft wide by 36ft high projection ‘Rollio’ surfaces (a complete system built by TAIT) flying in from the roof in the arena shows for the dramatic Battersea reveal – complete with smoking inflatable chimneys – is one of them.
These stay in for most of the second act, and one trick is not to illuminate any of the associated flying system.
The compelling video content, driven by Waters and Sean Evans, and brought to life logistically by Richard Turner is central to the show narrative, and, obviously, this made followspotting from any traditional arena positions impossible.
In fact, keylighting Waters and the band while the Rollios are in also became a real brain teaser!
Lighting the iconic pig without spilling onto the Rollio surfaces is another galvanising task, however as Pryderi explains: “Generally, being part of a very collaborative team means that any challenges are discussed thoroughly, and inventive and workable solutions found.” There is always a creative answer – sometimes laterally thought through – to the many ambitious production demands of a Roger Waters tour.
Pryderi is using a grandMA2 for control and being the lighting designer, director and programmer for the tour comes close to satisfying his control freak streak he reveals.
Upstaging Inc. from Chicago (with the account handled by John Huddleston) was the lighting supplier for the 2017 North American tour and for Europe / Mexico in 2018 plus the ‘universal’ FOH / control package for the entire tour.
Neg Earth from the UK supplied the European stadium shows in Paris and Italy and the 2018 Latin America tour where Dave Ridgeway and Lindsay Markham take care of all the co-ordination.
UniPix from the UK came on board after the 2017 north American leg of the tour and are supplying the LED screen worldwide.
“The kit and support from both Upstaging and Neg Earth has been exemplary,” stated Pryderi who is also the first to pay tribute to “the tireless work ethic” of the fantastic lighting crews who put the rig together day-to-day.
From Upstaging these are lighting crew chief Jason Stalter, FOH and systems technician David Lancini, moving light technician Paul Mundrick, dimmer technician Randy Garrett and lighting technician Emil Vuorijarvi.
From Neg Earth in Europe this was Tim Spilman, Nic Burlace and David Mitchell and in Latam, Tim and Nic are joined by Haydn Corps and Steph Felstead.
photos: Kate Izor
16th November 2018
Chauvet Professional Mavericks from Fumasoli Add Timeless Touch to L’Orage Concert At Arco d’Augusto
Italy – With its massive central arch, fluted shafts, Corinthian capitals, and shields depicting ancient divinities, the Arco d’Augusto stands as a monument to Roman art and engineering. This fall, the imposing structure, which was dedicated to the Emperor Augustus by the Roman Senate in 27 BC, also served as a hauntingly evocative setting for a concert by the award-winning Italian folk rock band L’Orage, as they performed on a stage set up under the spacious arch.
Adding to the mesmerising atmosphere of the concert was a Federico Seguri lighting design that cast a polychromatic glow on the band and the ancient monument by using a collection of Chauvet Professional Maverick fixtures, supplied by Fumasoli Audio & Lights Rental.
Seguri deployed 20 Maverick MK2 Wash fixtures to light the arch. Positioned on the ground around the arch, the intense RGBW moving LED fixtures didn’t merely illuminate the ancient monument, they animated its intriguing architectural features by casting sections of its surface in brightness, while leaving other areas in relative darkness.
This not only endowed the arch with a greater sense of depth, it also seemed to bring its surface to life, as if calling up ghosts from the stone’s 2,000-year history. Using the Maverick MK2 Wash to change the colour of the arch, Seguri enhanced the dynamic effect of his design even further. The variety of coloured washes he used also worked to reflect the varied moods of the eclectic band’s music.
As for the band itself, Seguri accented their performance with the help of 12 Maverick MK2 Spot fixtures positioned behind the group. Arranged on cases of varying heights, the 440W moving LED fixtures were used for backlighting, specials and aerial effects aimed at the roof of the arch and the open sky beyond.
The Maverick MK2 Spot’s wide 13° to 37° zoom range allowed the coverage area of the backlighting to change, adding to the variety of looks during the concert. Meanwhile, the unit’s CMY + CTO colour mixing provided balanced coordinated looks with the wash on the monument itself.
With its smoothly blended instrumentals and uplifting harmonies, the music of L’Orage harmonised perfectly with the ethereal mood of the evening. Many fans gathered around the ancient Roman monument were familiar with songs from the band’s first all-studio album Macchina del Tempo (Time Machine), a name that provides a fitting image for the concert’s transformative visuals.
16th November 2018
Rory Peck Awards 2018
UK – Richard Martin Lighting was once again be a part of the Rory Peck Awards 2018.
This Awards Show was established in 1995 which uniquely honours and celebrates freelancers working behind the camera in news and current affairs: the video journalists, film makers and camera operators who work independently and tirelessly, often without the formal support or back up of a large media organisation and often in places of conflict. The Awards were presented by Alex Crawford and Jeremy Bowen at The BFI Southbank, London.
The entire lighting design was created by the imaginative Malcolm Reed who utilised Richard Martin Lighting units: the VL4000 for their optical spread, Sharpys for the modest beam work and last but not least Robe 600 for their creative colour wash.
Malcolm Reed said: “The venue is predominately used as a cinema, so there is a distinct lack of lighting available so the lighting brought a lot to this event giving it an awards look with a touch of glamour to the background, lighting the presenters and nominees.
“Richard Martin Lighting provide a great service, in my opinion no other company can match them for quality and service, the crew were outstanding too.”
16th November 2018
Alcons Assists Anniversary Concert for John Paul II’s Papal Appointment
Poland – The church of St Brygida (St Bridget) in Gdańsk, Poland, recently hosted a televised concert to celebrate the 40th anniversary of Pope John Paul II’s appointment. An Alcons Audio pro-ribbon audio system was the ideal solution to tame the church’s difficult acoustics.
St Brygida is a large, brick-built church, famed for its amber altar and its 1980s role as a sanctuary for the leaders of the Solidarność (Solidarity) trade union, when Poland was under martial law.
Staged to celebrate the 40th anniversary of Polish national Karol Józef Wojtyła being chosen as Pope John Paul II in August 1978 – the first non-Italian Pope for 455 years – the concert featured Cappella Gedanensis, a vocal and instrumental ensemble which performs traditional music from the region around Gdańsk and represents the city all over the world. The group’s performances often include well-known soloists. For this concert, they included singer Plácido Domingo Jr, mezzo-soprano Alicja Wegorzewska and pianist Maciej Miecznikowski.
Transmitted live by broadcasters Polish TVP1 and TV Polonia, the concert’s audio production was handled by Gdańsk-based Offstage. The tall interior of the church features vaulted ceilings, with many columns and other flat, reflective surfaces, but these were tamed by Offstage’s Alcons pro-ribbon system. The set-up included two QR24 modular line-source array columns per side, with two VR12 mid-size versatile monitors as outfills and two VR8 compact versatile monitors as zonal speakers in the middle of the church. The system was powered by Sentinel10 and Sentinel3 amplified loudspeaker controllers.
The concert’s live sound was mixed by Patryk Kozak. “St Brygida is a challenging acoustic space and, as a prestigious televised concert marking an important Polish anniversary, it was vital that we delivered the best sound possible,” he says. “The exceptional directivity of the Alcons pro-ribbon loudspeakers, and specifically the QR24, played an important part in avoiding unwanted acoustic reflections, while the high end clarity and excellent gain before feedback meant that the best possible sound quality was delivered to the live audience.”
16th November 2018
Light Fantastic Production Services – Bohemian Rhapsody world premiere and after party
UK – Event production specialist Light Fantastic Production Services partnered with Limited Edition Event Design to provide the main stage plus a complete after party installation for the world premiere of the Freddie Mercury biopic, Bohemian Rhapsody at the SSE Wembley Arena.
As the centrepiece to the event LFPS created a bespoke circular stage finished in gold mirror to complement the premiere’s signature purple carpet. The stage was a focal point for the evening, hosting live interviews with the movie’s cast and crew along with members of Queen.
Directly following the screening, for the star-studded after show, LFPS transformed Wembley Stadium’s Three Lions Bar into a stylish rock and roll themed party space for a thousand guests.
To help build the look, the team used Portman’s newly released P2 Hexaline fixtures, placed within the lobby, their choreographed chases and tungsten warmth creating a proper rock show atmosphere. A curved gallery, lined with individually lit costumes and large scale production stills from the movie was formed at the entrance. Here, LFPS installed a mixture of ROBE LEDBeam 150 and ProLights Studiocob fixtures that greeted arriving guests with dynamic movement and colour.
In the main party area LFPS deployed 170 of their brand new Chauvet WELL Fit wireless LED uplighters, 110 of these being used to great effect to create grand sweeps of colour along the vast glass and steel wall that looks out over Wembley. Adding regal gold highlights to the mix, ROBE PATT 2013 fixtures were cleverly positioned throughout the area, their elegantly retro looks perfectly complementing the styling of the event.
Lighting was controlled using a Chamsys MQ100 console with various Wireless Solutions transceivers to minimise the cabling requirement and speed up installation.
Completing the installation, audio was fed from a Pioneer DJ rig to the venues in-house system to the main space and a number of ancillary areas using a selection of cabinets from the LFPS d&b audiotechnik inventory.
As a final addition to the authentic backstage feel, LFPS were able to further augment the rock show look by carefully arranging a number of their flight cases throughout the venue.
Commenting on the project, Light Fantastic director Rob Myer said: “It’s been incredibly exciting to have played a part in creating the Bohemian Rhapsody experience at such an iconic venue. The layout of the party space presented a handful of initial design challenges but the crew have done a wonderful job of transforming it to create a fabulous looking, rock and roll party!”
16th November 2018
Murt Whelan Sound invests in Ireland’s first SD12
Ireland – With a burgeoning Irish music scene and ever increasing demand for rider-friendly consoles, Murt Whelan, owner of the eponymously named Murt Whelan Sound, decided to invest in DiGiCo, choosing an SD12 as his first console from the brand and the first SD12 in Ireland. It proved so popular, that he quickly decided to add an SD10 to his inventory.
“Investing in DiGiCo has worked very well for us,” says Murt. “Ever since we took delivery the SD12, it’s been our busiest console and has been pretty much constantly out on hire, either for shows we’re working on or for dry hire to other rental companies. It’s been out with Irish bands Gavin James Walking on Cars and Picture This, on the Féile Classical Festival, Independence Festival in Cork and for the Trinity Summer Series in Dublin.”
As the only SD12 in Ireland, the console has proved exceptionally popular and proving that this is no fluke, since Murt took delivery of his SD10 at the beginning of September, it has been equally hard-working. In fact, he is in the enviable position of not expecting it to spend much time in the company’s warehouse.
“We immediately had several enquires for sub-rental for the SD10, and it’s also booked to go out regularly for the next year, which is exactly how you want it to be,” he smiles. “The market for DiGiCo in Ireland is growing very rapidly and the SD12 and SD10 have given us a very definite advantage.”
Murt purchased both consoles through SSE and, despite this being the company’s first experience with DiGiCo, they have not required training on the consoles.
“We just spent some time with the SD12 in the warehouse,” he says. “I did a show on it myself, having only spent an hour with it in the warehouse. I found it really easy to get around. Both DiGiCo and SSE offer amazing support and we know they’re there if we need them, but so far that hasn’t been necessary. The consoles are very intuitive but also, as you would expect because they’re so popular, a lot of our engineers have used DiGiCo before, so it was very easy to get everything set up.”
So pleased is Murt with his investment that he’s already planning to add more DiGiCos to his inventory.
“I’ve been really impressed with everything, from the fast turn round on deliver to the fact that they are there as a brand to support should you need it,” he concludes. “We are definitely planning to expand our DiGiCo stock in the very near future.”
16th November 2018
Rebel Hearts for First Aid Kit Tour
UK – Franki McDade is the lighting designer behind the edgy and intelligent visual show that has been supporting Swedish duo First Aid Kit’s world tour, which kicked off in January when their “Ruins” album was released. The tour has just completed its latest UK leg, with lighting and video equipment supplied by Colour Sound Experiment.
Colour Sound has provided lighting and crew for previous tours with the band, this being their largest and most comprehensive to date in terms of production.
Colour Sound’s Haydn Cruickshank comments: “I have known Franki since she first started her professional career; she worked hard and was an extremely good and conscientious lighting technician. She’s always had a great flair for imagination, so it’s fantastic to see her creative star rising and evolving. We were really happy to be working with her on this in the UK and Europe.”
In terms of design, this is one of Franki’s largest tours to date. On the video side, she collaborated with Paul Beckett and the team from Bryte who produced the content to her brief, which included extensive input from First Aid Kit themselves, Johanna and Klara Söderberg.
This UK tour culminated in two absolutely electric sold-out shows at London’s Brixton Academy, and a production design that was evolved from a version used on the Swedish tour earlier in the year which played similar sized venues.
Projection was important on this tour. Film is a strong source of inspiration for Joanna and Klara, they take a keen interest, and much of the footage has a textured and cinematic feel present across all the content, be it animated graphics or camera footage.
The projection system comprising the backdrop and Resolume laptops running the content, is a universal item of production that has travelled everywhere on the tour, so a key start point for the lighting design was the backdrop, which is made from a white Showtex DekoTaft Crunch crushed taffeta fabric.
It was chosen for its distinctive textural nature, which is ideal for the projections and dealing with lighting and its colour gradients as well as those from the moving images, and also for its light weight and portability.
With video being central to the show, Franki selected lights for the quality of their optics so they could bring maximum colour and depth to the stage, also fixtures that could bring finesse and be nicely controlled, with 29 Robe MegaPointes as the primary moving lights on the rig.
Their multi-functionality was important, explained Franki. As MegaPointes are equally as good and effective in beam, spot or wash modes, it was like having triple the number of lights on stage. “The fact that they are smaller fixtures without compromising on optics was a big bonus.”
The vibe of the show is moody, contrasty, assertive but generally up tempo. There is a lot of back lighting and ambience, and no followspots.
Instead Franki utilises keylights on the front truss with some subtle side illumination for reinforcement, a concept that works beautifully and keeps the stage looking interesting and free of unsightly light pollution.
Twelve MegaPointes were upstage, two on each of six vertical pre-rigged trussing towers, another three were positioned on wing trusses either side of the stage, with another two downstage on the deck, with the remainder on the overhead rig.
“They are wicked little lights and so ultimately versatile: small, light, efficient with great effects like the animation wheel, prism etc., and there’s plenty of scope.”
She chose Robe LEDWash 600s for the main wash luminaire. “I wanted something simple to do the job elegantly and with good colours” she stated. Twelve of these were deployed on the floor, with nine in the roof.
The projection screen was delineated top and bottom by a row of GLP Impression XBar 20s, 12 on the floor and 12 in the air which “had a great impact”.
Franki likes the smooth, well-defined colours and worked with these in full 89 channel mode so she could create fabulous fluid flowing mapped pixel effects and complex faded transitions.
The original idea was the have the XBar 20s concealed on the floor, but the more she used them, the more they integrated themselves into the general sightlines. This was one of the most developed elements from the original design, excluding adding video content.
At Brixton, a large mirrorball was suspended above the middle of the auditorium, lit with four Claypaky Scenius Unicos positioned at FOH and on a flown truss with the mirrorball which looked fantastic and proved that there’s’ so much more than disco for this classic stage effect!
Claypaky Stormy LED strobes were dotted around as Franki specifically wanted an RGB unit that didn’t look like a collection of pixels, and again, had excellent colours.
Two Glaciators from Colour Sound were augmented by one low smoke generator supplied and supported by Adam Murray, Jack Webber, Jack Sheppard and Liam Globe of BPM SFX, who looked after the pyrotechnics and laser effects in the show.
Franki wanted lasers as a contrasting light source for the final song of the set, “Nothing Has to be True”, which had a look based around static from a television set that was being warped and splitting colours into RGB from one light source, so lasers were perfect.
These came in the form of 14 x 4W Starbeams, positioned on the front and back trusses and across the floor. They produced a real 'wow' reaction from the crowd when they fired up, and, used just once, were memorable in an evening of many visual highlights.
No followspots meant the stage stayed balanced and conducive to the projections, delivered by two of Colour Sound’s Barco HDF W30 Flex projectors stationed at FOH.
The two sisters were keylit with ETC Source Four profiles and Fresnels on the front truss (an aspect that Franki wanted to keep simple and straightforward) and the band – positioned upstage – were lit by more Source Fours on the side trusses in conjunction with the floor washes.
Several rows of 2-cell Moles were scattered throughout the rig.
Franki programmed and ran the show on a grandMA2 light, running an MA3 light as a backup.
Her touring Colour Sound crew were Chris Brown and Hadyn Williams, joined by Stu Barr as an extra pair of hands at Brixton. Franki is also a working LD.
She stated: “Working with Colour Sound is always a pleasure, nothing is too much trouble, and the crew are an amazing and supportive bunch!”
Franki started working with First Aid Kit as the lighting programmer in 2015 and has been lighting designer for the last 18 months, a role which she is enjoying immensely. The touring schedule has been super hectic this year, a trend that continues with more European shows between now and Christmas, followed by Australia for the new year, then arenas in Sweden in spring, finishing with what is sure to be a show-stopping performance at Stockholm’s legendary Globe.
photos: Louise Stickland
15th November 2018
Herrick Goldman Reflects Magic of Tinga Tinga Tales With Help from Chauvet Professional
USA – Why do chameleons change colour? Technically, it has something to do with things called nanocrystals in their cell structure, but a more wondrous and soul-stirring explanation can be found in one of the many African fables that come vividly to life in Tinga Tinga Tales – The Musical. A scene in the Kenyan children’s musical recounts a time when the chameleon was a dull, grey and sad creature. That was until it met a butterfly who led it to a very special rainbow. Stepping onto the rainbow, the chameleon instantly metamorphosed into a magnificently coloured animal resplendent in reds, yellows, oranges, pinks and greens.
Accenting this magical transformation at the North American premiere of the show in October were seven Chauvet Professional Maverick MK2 Spot fixtures. These lights, along with 13 Maverick MK2 Wash units and eight COLORado 2-Quad Zooms, supplied by WorldStage, were part of a Herrick Goldman lighting design for the show at Manhattan’s New Victory Theater.
“The MK2 Spots provided the strong beams of the chromatic rainbow when the children in the audience discover how the Chameleon character gets his colours,” said Goldman, who positioned the 440W moving LED fixtures on the second electric. “They enabled us to shift Chameleon’s moods rapidly, which helped tell his magical tale. The MK2 Spots also played heavily in Tortoise’s Rasta rap, with a call and response with the audience. Overall, the spots help highlight performers in a variety of dramatic ways.”
Goldman was familiar with lighting the performers at the New Victory production of the musical, having worked the world premiere of the musical (which is based on the famous children’s cartoon series of the same name), when it made its world debut at the Kenya National Theatre in Nairobi earlier in the autumn.
“My friends at the New Victory Theater recommended me to the producer of Tinga Tinga Tales for the show in Kenya,” said Goldman. “Based on my previous relationships and work at the New Victory Theater, as well as my international design experience, they thought I would be a good fit. So, I had the extreme pleasure of designing for Tinga Tinga Tales on two very diverse continents.
“We wanted to keep the same energy and vibe we had in Nairobi once we got to New York,” continued Goldman. “The New Victory staff really helped us go above and beyond. We had a great crew. My associate Jacquelyn Cox was instrumental in translating the cues and looks from one venue to another, and Jay Penfield, our programmer, was able to immediately translate a look from a video into the new rig and a different console. The pace and schedule at the New Victory was about half the time we had in Kenya, but it all came together beautifully.”
Featuring a cast dressed in splendidly colourful costumes that evoked images of lions, hippos, elephants and an array of other animals, Tinga Tinga Tales wove a tapestry of legends about the natural world that explained things like how the giraffe got such a long neck and why snakes have no legs. A captivating blend of rock, hip-hop, gospel and other music infused the production with energy, while the set’s richly coloured scenic backdrops stirred young imaginations.
Goldman’s lighting helped transport audiences every step of the way on this enchanted journey. The five Maverick MK2 Wash fixtures he positioned on the balcony rail provided a beautifully saturated colour wash from a low angle that accented the costumes and embellished the scenery and mood from the front. An additional eight Maverick MK2 Wash units on the third electric were used to light the band and wash the scrim, as well as for backlighting and audience washing. The Colorado 2-Quad Zoom fixtures in the rig were used to highlight the Tinga Tree upstage.
“The Maverick Wash fixtures did a great job from a low front angle to really punch up the colours,” said Goldman. “They also reflected off of the honey bee plexi mylar curtain and made fun golden reflections throughout the theatre. The COLORados helped me establish mood and time of day as we shifted tonality.”
A good part of the magic of Tinga Tinga Tales came from the show’s genuine and natural audience engagement. Sing-alongs were common throughout the show, and actors often stepped out into the house.
“We devoted many of our resources to covering the audience,” said Goldman. “The wash fixtures on the balcony rail picked up characters when they entered the audience area. We also had fixtures on FOH truss to wash the crowd in texture, hit the mirrorball, and provide other specials as needed. Our wonderful front light operator, Tracey Isabell, handled the many pick-ups in the house and some tricky ones on stage as well!”
Also coming in for praise from Goldman were Paul Bradley, who helped flesh out the light plot while he was in Kenya, and Rachel Fraley, the associate ME. “This was really a team effort,” said Goldman. “Also, if it wasn’t already obvious, I’m grateful to the staff of the New Victory whose goal is to educate young audiences and bring them to the joy that is theatre. I’d also like to thank the Nairobi team of Claudia Lloyd and Sheba Hirst (producers), as well as the production team of Wamai (SM) and Kibugi (audio), who shepherded this show from Kenya with skill and aplomb.”
For his part, Goldman looks back on Tinga Tinga Tales with the enthusiasm of a young audience member. “Occasionally I can be a cynical person,” he said. “But seeing the audiences filled with children on both continents watching with unbridled wonder at all the animals asking them to sing with them while they learned Swahili and English was a theatrical experience that I will always cherish.”
photos: Alexis Buatti-Ramos
15th November 2018
Halo-A helps Legoland Windsor Resort to finish season with a bang!
UK – The end-of-season fireworks display at Legoland Windsor Resort is one of the resort’s most anticipated events on the calendar. Six shows are held over three weekends during late October and early November, with this year’s ‘Legoland Heroes’ extravaganza, deemed the most spectacular and ambitious yet. Sound designer, Dave Shepherd, has been looking after the sound for the fireworks display since 2003. This year, following the demos held at LH2 in June, he opted to try out the recently launched Halo Arena large format line array system from EM Acoustics.
Shepherd explains that a large percentage of the park is covered with dedicated sound systems for the fireworks display, which is not without its challenges: “There are multiple viewing areas populated with buildings and trees that we need to work around. We also have fairly tight noise restrictions due to the proximity of local residents to the park’s boundary,” says Shepherd. “The largest viewing area of the park is Miniland where the public can be up to 170m away from the sound system, but due to the topology of this area, it’s impossible to set up delay systems meaning that the coverage has to come entirely from the main left/right line arrays. It’s therefore key for me to use a system with properly controlled dispersion and excellent rear rejection characteristics so that I can put the sound where I need it and not cause a nuisance for the neighbours. Having heard the Halo-A system at EM’s LH2 demo this summer and been very impressed, I was keen to try it out, particularly in view of the challenges we face at this venue.”
Shepherd approached Delta Live, his preferred audio supplier for all Legoland requirements, who supplied a total of twenty powerful Halo-A line array elements (ten per side), two pairs of MSE-159 full range, wide dispersion loudspeakers for local fill and six MSE-218F high power, reflex subwoofers per side. The whole system was run off two EM Acoustics touring racks (one per side) incorporating EM Acoustics’ Dante-enabled DQ20D advanced system amplifiers, thus allowing Shepherd and his crew networked control from anywhere in the park.
“Halo-A surpassed all expectations and helped deliver the best show to date,” declares Shepherd. “Between comments from the crew who’d never used the system before about how quick and easy it was to rig, and from both the client and the crew about how good the area sounded, it was clear that choice to use Halo Arena proved to be a great success. The rear rejection was phenomenal which allowed me to achieve a good show volume for the audience without having an impact on the neighbours. We were all thoroughly impressed with the results.”
Associate engineer for Delta, Griff Hewis, agrees: “I was impressed by the demo I attended at G-Live in Guildford so, like Dave, I was eager to use the new EM Halo-A system out in the field. Four weeks left outdoors in inclement October weather is always a good road test for any new product and it didn’t miss a beat! As Dave’s ears out in the park I can say it exceeded my expectations in terms of throw and coverage. Standing around 120m away the arrays were still crystal clear and it was certainly on a par with the other leading manufacturers systems we have used in the park. I would happily use it again for future projects.”
Indeed, EM Acoustics has proved to be a popular brand for the Legoland Windsor resort as Shepherd has recently installed some custom outdoor EMS-81Xs and EMS-118 subwoofers as part of Legoland’s permanent stunt show installation. “For the first time we were able to utilise the stunt show system to enhance the audio experience in the fireworks viewing area situated in that location, which made a big difference,” he notes. For the past five years, Shepherd has also installed 20 EMS-51s in a forest area of the park for a ‘Brick or Treat’ themed Halloween event running every day during October. These individually fed speakers allow him to create a soundscape consisting of background music as well as spot and moving sound effects.
Hannah Ratcliffe, head of entertainment at Legoland Windsor resort, was more than satisfied with the results. “I’m always impressed by the audio delivered by Dave and the team at Delta Live, but this year we have really been able to up our game through the use of the new kit from EM Acoustics,” she remarks. “From the big Halo-A system in Miniland through to the smaller kit in the Enchannted Forest, we are able to surpass our guests’ expectations time and again, and deliver amazing and memorable experiences through high quality and engaging sound systems.
15th November 2018
Spotlight FresneLEDs Deliver an Energy-Efficient Performance without Compromise for Production Bureau
UK – Live events creative solutions specialist, Production Bureau (Pb) has invested in 20 Spotlight FresneLED 200 warm white universal dimming luminaires for use on client events during the busy autumn season.
Production Bureau has been providing technical solutions, installations, AV equipment and services to the live events and exhibitions and display sectors for over 30 years, with projects ranging from international conferences to small-scale road shows.
Dave Morgan, Pb's technical resources manager, required a versatile and low-energy LED Fresnel that could be used across various types of shows and events, so contacted Bob Allen in the UK lighting sales team of professional equipment reseller, A.C. Entertainment Technologies Ltd. (AC-ET).
Dave commented: "At Pb we are continuously investing in new technologies to ensure we remain at the forefront of the industry, so we can deliver the best possible creative experience for our clients."
After discussing Dave's technical requirements and budget, Bob recommended the Spotlight FresneLED range of luminaires from the brand's award-winning Green Line product range.
He commented: "Spotlight has a long history of developing quality Fresnel solutions, and has spent many years perfecting its own LED technologies to be able to deliver performance which is comparable to conventional tungsten fixtures, yet offers significant reductions in energy consumption."
Dave invested in a quantity of Spotlight's FresneLED 200 warm white universal dimming luminaire, which have been used on a number of client productions and impressed Pb's technical team.
He commented: "Our technical team is really pleased with the Spotlight fixtures. Their light output and overall performance is excellent, they're easy to rig and very quiet, and are definitely helping us to make savings on the lighting running costs for projects we've been using them on."
15th November 2018
It’s All Black & White from Video Design
UK – Art and artistry appear fundamental to a live performance by Bon Iver; theirs is always more than just a collection of musicians on stage. For lighting designer Michael Brown this is reflected in the reliance on white light, shade and contrast. With that in mind, when the band asked production manager James Dean to prospect for an IMAG system, he sought more than just good technology.
“Although it’s not the first time we’ve used video for the live show (we have had video walls for content before now) it is the first time we’ve thought about using a full camera package for IMAG. We knew we would be playing bigger rooms and we wanted the audience to have the best experience possible. One of the great things Video Design offered that many others didn’t was a range of robotic cameras. Not having camera operators intruding on stage is important to the band and their stage performance.”
Dean took a four-camera PPU from Video Design, three Bradley robotics and a long lens operated camera for out front, plus two screens and laser projectors. “Video Design have done a nice job for the band; we have four cameras and, as far as the band and the show is concerned, it’s as if they don’t exist.”
“This was new to us,” Dean continued: “And once we got the equipment and saw how it looked it became apparent that we had positioned the screens too far above the performance area. They were almost a distraction. Paul Eggerton, our video director suggested bringing them closer in and lower, practically alongside the performance area, something they were able to do for us quickly and easily. It means the audience has their eyes always focused at the same level; they can comfortably glance between band and screen. That was a great change.”
For Eggerton the artistic sensibilities of the band have proved very exciting, “There are no mid-tones, it’s all very black and white, stark and contrasting. Michael (Brown) and I exchanged emails ahead of the tour and it was clear that the IMAG would be in B&W. The gear is good; Alex always supplies good kit. The important thing here is he reads the brief and makes a point of understanding what the client wants.”
“The focus is on the whole band,” said Eggerton as he unfolded his approach. “The stage is incredibly busy with instrumentation and floor lights, so positioning the three onstage robotic heads was tricky. With three fixed points you’ve got to work to get the shots: you are finding the dynamic of the show from within a defined set of limitations; that makes it challenging to find the cut I want. Even with a long lens in the house where I have a bit more latitude with framing, it’s still busy but exciting. I’m really enjoying it.”
Dean agreed: “Our LD Michael Brown lights the band mainly in open white and the band elected to follow that by having the IMAG in black and white. With Paul focusing the images less on close-ups and more on abstract shots of the band, and by electing to use high contrast effects, he has added a new creative element to the show that flatters and enhances the creative art of the band. We are all really pleased.”
15th November 2018
HSL Gets the Blue Lights for Jorja Smith Tour
Europe – Critics Choice Brit Award-winning singer-songwriter Jorja Smith is one of the UK’s most exciting rising star musical talents, currently enjoying the success, both commercially and creatively of her debut album, “Lost & Found”.
Blackburn-based technical production specialist HSL supplied lighting equipment and crew for her recent UK and European tour, working closely with Boston-based lighting designer Tyler Trofatter and, for this section of the tour, lighting director / operator on the road, Matthew Kemp.
Tyler started working with the artist earlier in the year when they sought a US-based LD to look after the live show aesthetics and stage presentation. In the US they were using 4Wall Entertainment as the lighting vendor, and their account handler Bob Suchocki first connected Tyler with HSL when they needed a specials package for a summer show at Somerset House in London.
That all went very well, so when this tour was announced, following the album launch in June, Tyler and Jorja’s production team: tour manager Simon Parkinson and production manager / FOH engineer Mike Excell, returned to HSL where they worked with project manager Jordan Hanson.
Tyler commented that the HSL crew for the Somerset House gig were “fantastic”, together with the service and the lighting package. Jordan was also helpful in providing a visualisation computer and console a few days earlier, allowing him more time to program.
Jordan stated: “After working with Tyler on the one off earlier on in the year I was delighted when he came back to HSL to supply the tour package and the flown rig at Brixton. Tyler and the production have been fantastic to work with, the design has a lot of style and it’s also great to have been involved with an artist with such a positive future.”
There is no video in this current design, so all the visual reinforcement for Jorja’s compelling and powerful performance is from stylish lighting. Her music embraces R&B, hip hop, soul, rap and several other genres in a rich vibrant mix, much based on personal experiences and with a strong sense of social activism.
The music was partly the inspiration for Tyler’s design which evolved into a blend of vintage and contemporary elements to match her voice which has a timeless resonance but is highly distinctive throughout as she flips between different genres of music.
Another criteria driving the design was that all the lighting fixtures had to be multi-functional.
A sumptuous red Austrian drape denoted the back of the stage, making a strong statement that required careful lighting.
To complement the retro feel but with a touch of industrial chic, Showtec Vintage Blaze 55 fixtures were added to the rig, their big dish-like reflectors feature a tungsten bulb with an RGB LED backlight that transforms the reflector, making it a hugely versatile and almost scenic luminaire.
Six of these were supplied for the tour boosted to thirteen for the London and Paris shows. Some of the Blaze 55s were on floor stands and others on drop bars from the back truss for depth and layering.
Martin MAC Axiom hybrid spot / beam fixtures were positioned upstage of the band for powerful, moody silhouetting and backlight looks. They were chosen for their nice fat beams and good gobo selection.
Also on the floor was a row of GLP Impression X4 Bar 20s LED battens, which Tyler loves. These brought individual pixel control to the equation and were used to up-light the backdrop. As they can also tilt, they were extremely useful for producing dramatic curtains and sweeps of light and colour behind the band and Jorja.
The two Brixton Academy shows were enjoyed by very ebullient audiences who gave the young star an incredible reception, and for these HSL added Mac Viper Performances, MAC Viper Profiles plus Robe Pointe and LEDWash 1200 moving lights, all of which were dotted around over stage trusses flown at different heights, with the upstage one being the lowest.
These were joined by more GLP Impression XBar 20s, 8-lite and 2-lite blinders and DF 50 hazers.
Using the extra fixtures intelligently, Tyler was able to fill out the stage sufficiently and produce a classy and appropriately upscaled show which impressed the London crowds and the critics.
Jorja Smith’s stage set-up is very clean. The band risers are wrapped in draping and the lighting enhances the fluidity and diversity of her vocals which engage and draw her fans into the experience.
“I really appreciate and enjoy the trust and creative freedom invested in me to imagine the show,” commented Tyler, adding that Jorja does preview the work-in-progress for them, and he will often bounce ideas off Simon Parkinson.
Another objective is to ensure it photographs well and easily, an important consideration for a social media savvy world which is a vital channel of communication for so many artists and music events.
A grandMA2 light console was part of the touring kit which, back in the US until Christmas, Tyler is operating himself. He was also there in the UK for the London shows.
It’s Tyler’s first time working on a touring production with HSL as a supplier, a process that has been “brilliant” he stated.
“Jordan has been very accommodating,” he says, especially with any last-minute changes due to the spec, all of which were dealt with efficiently and kept within budget, so Simon Parkinson was happy!”
HSL’s Brixton crew of Keith Parrot (who also worked on that original Somerset House gig) Harry Duffin and Stuart Wright were “fantastic” enthused Taylor.
photos: Lindsay Cave
14th November 2018
Metalworks Production Group Forges Ahead with L-Acoustics
Canada – Looking at the 50,000-square-foot complex that is Metalworks just west of downtown Toronto in Mississauga, it’s almost hard to imagine that it came from relatively modest roots. Starting out as a private studio, the company has now grown into a multi-faceted operation that includes a large commercial studio, production school, and live sound provider with a major investment in L-Acoustics loudspeaker systems, including its most recent addition of a full K2 system.
In 2005, Metalworks Studios bought out a pair of live sound companies and launched Metalworks Production Group (MPG), a full-service production house. One of the companies that it purchased was already an L-Acoustics rental network partner, making MPG an L-Acoustics house from the very beginning. “We started with approximately 50 V-DOSC and 100 dV-DOSC right out of the gate,” says Metalworks Owner Gil Moore, who is perhaps better known as the drummer and co-lead singer for the Canadian rock band Triumph, which has 27 platinum or gold awards in the USA and Canada to its credit.
As someone who has played on more than his share of tours, Moore has a unique take on running a sound company, as well as a keen appreciation for rider requirements. Moore calls his company’s extensive investment in L-Acoustics products a “strategic advantage” for three reasons: “The first is that L-Acoustics speakers are consistently one of the top choices on every rider we see. As a business owner, that’s one less stress because I know that I’m not going to have to worry about that top status changing.”
MPG’s inventory of L-Acoustics is extensive. “We have 120 Kara, 32 K2, and we've just added several LA12X-equipped LA-RAK II amplified controller racks and 16 KS28 subs, which will join our 42 SB28 subs,” says MPG general manager Mike Primeau. “We also have 20 Kiva II and eight SB18 subs, plus a dozen ARCS Wides and a dozen X15 wedges. Among other things, we still have 11 dV-DOSC and 23 V-DOSC, which are great as festival delays paired with K2 for the mains. With newer systems like K2, you just feel like the sound is closer to you and even more intimate.”
The second part of the L-Acoustics strategic advantage is the something that many sound engineers spot first: “the angle of the dangle,” as Moore puts it. “It’s the rigging. Everyone who works on the new systems notices it. With this latest iteration of large-format systems – K1 and K2 – the way that the speakers are articulated based on the rigging is just so much better.”
The third piece of the strategic advantage puzzle is the consistency of tone across the entire line. “Regardless of the cabinet size, from Kiva to K1, L-Acoustics enclosures all share a very similar sonic signature,” Moore adds. “Even when I look back on V-DOSC and dV-DOSC, they spoke with a common voice and had a comparable tone, a very smooth top end and smooth bottom end as well.”
“When the K Series came along, I felt that there was definitely an enhancement to the bottom end, which is in keeping with many listener preferences today; over time, there just seems to be more low end being dialled into more types of music. L-Acoustics has also really made improvements in the voicing of its subwoofers. I think a lot of that is to the credit of the amplified controllers, whether it be the LA12X or the LA8. They're getting a tremendous performance out of the K Series because even when you use those same controllers on V-DOSC or dV-DOSC, it improves the tone remarkably.”
Moore may not be touring any more, but he’s at least as busy as he was “back in the day.” Metalworks Studios is the largest commercial studio in Ontario, and its associated school, Metalworks Institute of Sound & Music Production, which teaches recording as well as all aspects of live production, is the largest private career college in Ontario. “We have the largest number of media arts students in Ontario, over 200 full-time students,” Moore proudly shares, adding that Metalworks is also involved with a third-seed-round start-up called AudioWorks, which is developing a cloud-based studio. “You know what? I'm kind of busier now, but I love it and I love the music business. I've never really had a ‘job’ my whole life. I love what I do.”
In picture: Metalworks Production Group crew – Chris Nandlal (audio system specialist), Mike Primeau (general manager), Kory Vanderiviere (audio systems specialist), Gil Moore (president and CEO), Cole McConnell (audio assistant), and Jeff Blain (production manager).
14th November 2018
Blue Parrot invests in Martin by Harman MAC Encore Performance and new Wash variant
UK – Formed at the turn of the millennium with the aim of providing lighting and production services to the theatre and events industry, Edinburgh-based Blue Parrot has enjoyed a long association with Martin lighting over the years. This has taken them from MAC 500s and 600s right through to today’s Auras and Vipers.
As their own theatre work increased, with MD Jonnie Clough himself a theatre lighting designer in his own right, the 'love affair' continued, and just over a year ago the company invested in 12 MAC Encore Performance WRM moving heads specifically for a Christmas show at the local Royal Lyceum Theatre.
Of their purchasing decision at the time, Clough said: “It was our success with the Viper Performance that gave us the faith and confidence to invest in the Warm White Encores. I was impressed with the demo and we ordered them even before they were available.
“However,” he continued, “as a sales company we have also sold some cold white (CLD) fixtures and I love those equally. The return on investment with the MAC Encore Performances has been higher than any other fixture we’ve stocked, with a lot of these spec'd on our own shows.”
He says the timing of the latest acquisition, an initial batch of Martin MAC Encore Wash WRM from Sound Technology Ltd, the Martin by Harman UK distributor, couldn’t have been better, and reflects their growing theatre production work. He added that it will be a natural replacement from the now obsolete Martin MAC TW1 (tungsten wash).
“These will complement our existing stock of MAC Encore Performance WRM, further widening our stock of intelligent fixtures highly suited to the theatrical industry, whilst also being great for use on live events and TV,” he stated.
The MAC Encore Wash WRM is designed to produce rich colour and premium white light in a wide variety of applications where light quality is critical, and is a perfect, LED-based replacement for the MAC TW1. The soft edge moving head offers unparalleled 3000K warm tungsten emulation that challenges the output quality of an incandescent light source, and doubles as a replacement for tungsten based Fresnel generics, with the additional benefit of colour mixing and movement.
In conclusion, Jonnie Clough said: “For theatrical work, it always tends to be Martin that is specified. We are now filling a gap in our rental stock and these will be a welcome addition.”
The new fixtures are expected to go straight out to venues across Scotland for various Pantos and Christmas productions.
In picture: Jonnie Clough MD, Mike Somerville head of productions and Lauren McCullough hire desk co-ordinator.
14th November 2018
Pearce Hire invests in Prolyte Arc Roof system
UK – Pearce Hire provides full technical production services for outdoor events around the UK, regularly supplying over 2,000 events per year on Greenfield sites, at festivals, for tours, exhibitions, architectural installations, sporting and entertainment productions. So the demand for easy-to-construct, versatile staging structures are something Pearce Hire is frequently asked to specify.
To address this growing demand, Pearce Hire’s latest addition to its extensive hire stock has been a Prolyte Arc Roof staging system, supplied by Stage Electrics.
Stage Electrics is the premier UK stockist of Prolyte products, distributing Prolyte for over 15 years. With an in-depth understanding of the product, Pearce Hire had no hesitation in approaching Stage Electrics to deliver on this investment.
“Our relationship with Pearce Hire goes back at least ten years and we were delighted to be working with them again to fulfil their requirements, and to provide an after-sales service which included training for the Pearce Hire team. It was a speedy turnaround of ten days from point of order to delivery, including the training day, but we were happy to meet this expectation,” explains James Cookson, Stage Electrics.
“We’ve got a significant amount of Prolyte kit already: trusses, towers, rigging towers and accessories, so we were already familiar with the quality of Prolyte products and ease of handling,” continues Jim Brown, general manager, Pearce Hire. “We were particularly attracted to the Arc Roof system because of its well-considered assembly process which is critical to the challenging set-up times our client projects often involve,” he explains.
The Prolyte Arc Roof System is a fixed construction, based on three inward-curving trusses which are mounted to side masts. It offers different configurations with optional side sheets and is an effective, small/medium sized roof system, incorporating non-climbing towers, an arched truss roof, ground ring for reduced ballast requirements and PA/branding wings, all of which are appealing features for many users. As Jim continues: “It is perfect for a broad range of installations, and with the diversity of our clients and their production requirements for a stage roof of this nature, an investment in this type of structure makes a lot of sense. In fact, I would go as far as saying it was an easy decision to make. It is ideal for live production, product launches, awards ceremonies and more besides. Prolyte’s innovative design allows a significant loading capacity on the 8m x 6m Arc Roof structure which we have invested in, providing just under 2 tonnes of UDL (Uniform Distributed Load). We were also attracted by the updated system which incorporates box corners to enable PA wings to be added more easily than before.”
Pearce Hire encourages a consultative partnership with its clients, and this is the same with its suppliers. “We chose to work with Stage Electrics on this purchase, and the product training mainly because they took on board our short delivery time and they were prepared to work with us to guarantee delivery and provide training for our team within the timescales we had. The sales process, the delivery and the subsequent training day provided by Stage Electrics, supported by Paul Hadfield from Prolyte was seamless and went without a hitch. We were delighted.”
Paul Hadfield, distribution manager for Prolyte products was pleased to help. “Prolyte take pride in our association with Pearce Hire who have been a loyal customer over many years with a notable inventory of Prolyte and LiteDeck staging products. We are very happy to now include an Arc Roof System within their range and look forward to a continuing relationship with them. I was impressed with the knowledge demonstrated by all the Pearce Hire team and the facilities at Pearce Hire HQ were perfect for training the whole team on this latest addition to their stock.”
Jim adds: “Following a thorough and informative training day delivered by Paul at Prolyte, our team are fully conversant with the structure. Installing the stage system is very smooth and the training gave hands on experience to all our crew before the structure left the warehouse for the first time. It also generated plenty of ideas from the team on what other events the structure could serve. Our new Arc Roof system promises to be in high-demand!”
Since its delivery, the Arc Roof has already been active for a recent festival, and an urban running event. As the autumn and Christmas season gets underway, it has also been specified for several Christmas lights ‘switch-ons’ and outdoor winter festivals in the coming weeks.
photo: Paul Hadfield
14th November 2018
Lights in Alingsås supported by W-DMX
Sweden – Lights in Alingsås, the experimental architectural lighting installation, started when students from Ljuscentrum Gothenburg University came to Alingsås in 1998. Ten years later, the urban exhibition attracts more than 85,000 visitors every year and has become the largest lighting event in public spaces in Northern Europe.
W-DMX has become a frequent sponsor of the project and is proud of being able to showcasing its technology in a real-life scenario, to well-established and new designers in the industry.
“In total, we used five WhiteBox F-1 transceivers, in three different sites,” says Dierk Hartmann, from Lights in Alingsås. The first site featured a set of WhiteBox units configured as transmitter and receiver, with lighting designed by Diana Joels (Brasil) and programmed by Oscar Bertenius (Stockholm Lighting). The control was supplied by Pharos and fixtures by Lumenpulse and Traxon.
The second site had a transmitter directly sending Wireless DMX to SGM fixtures, this was designed by Steven Rosen (USA) and programmed by Bertil Göransson (Luxera).
Lastly, the Whitebox units were configured as transmitter/receiver, sending data across a street, to fixtures by iGuzzini and Lumenpulse. This last installation was designed by Nikoletta Theodoridi (Greece) and programmed by Ian Fanning (Stockholm Lighting).
“The most wonderful thing with wireless DMX is its simplicity. Just power up, link the units and you’re on the run,” said Bertil Göransson, programmer from Luxera, who used W-DMX on the second site.
“Wireless Solution takes pride in helping such an innovative project, now with such a global reach,” says Niclas Arvidsson, CEO for the Swedish manufacturer. Arvidsson added: “Our products are a such a vital part of urban installations, and we’re happy that the designers from Alingsås trust our technology.”
photos: Patrik Gunnar Helin
14th November 2018
dLive Joins The Feeling for ‘Twelve Stops and Home’ Anniversary Tour
UK - English pop-rockers, The Feeling, recently celebrated the 12th anniversary of their debut album with their ‘Twelve Stops and Home’ tour, which was supported by an Allen & Heath dLive digital mixing system.
Supplied by SSE Audio, one of the largest rental stockists of Allen & Heath products in the UK, the full set-up includes an S7000 surface on FOH, accompanied by a DM64 MixRack on stage. Both FOH and monitors are mixed from the S7000 with the dLive’s 128 input processing channels enabling duplicates of input signals to be made for discrete FOH - MON processing. Additionally, the MixRack is fitted with a Dante card for multi-track recording.
“The 128 processing channels and 64 buses were perfect for duplicating channels for monitors and band members who needed further processing in their IEMs. I never had to compromise on anything, giving the band what they needed on stage and for what I needed out front,” comments FOH engineer, Jon Lewis. “The workflow of the desk is also incredible. It’s so quick. I can mix the show creatively with great ease and if a musician suddenly decides they need a monitoring change, I can do this within seconds. This was one of the reasons I went for the larger S7000 surface. It’s all there right in front of you.”
The S7000’s fully assignable layout with 36 faders and six layers ensure that any FOH or MON channel can be accessed quickly by the engineer. The OneMix iOS app was also used by the band for fine tuning of individual monitor mixes.
Additionally, with a high sensitivity condenser microphone utilised on the lead vocals, the Dyn8 multi-band dynamic processor is deployed for optimal control and several compressors from the DEEP Processing suite were used throughout. Lewis explains: “The on-board processing is just excellent. Whether it be the default compressors or the 'Opto' comp on my drum group, they sound so good! The lead singer of The Feeling likes using the Neumann KMS 105 and with this being a condenser mic, it can get lively at times, the compressor helped tame this immensely and allowed me to keep the vocal at the front of the mix at all times. It’s really fantastic!”
Lewis finally adds: “The first thing I noticed when I started using dLive was how great it sounded. The pres are excellent and crystal clear. The EQ is both accurate and creative and the compression modelling is fantastic, again just really creative! This is why the dLive is my go to console of choice!”
14th November 2018
Frequence Adds System T to its Rental Portfolio
France – Fréquence is a pro AV rental and service company based near Paris. It was founded in 2010 by Julien Perilleux (pictured) and quickly became a market leader in wireless systems (intercomms, microphones monitors), Fibre links, AoIP, and recording / mixing services for large live and broadcast events.
Perilleux recently added a Solid State Logic System T Broadcast audio Production environment to the Fréquence catalogue, and it is already out and in use on a major TV entertainment production in France. The Fréquence System T consists of an S300 32-fader control surface, two redundant T25 Tempest audio engines (256 fully processed paths), three SSL Network I/O: SB32.24 Dante stageboxes, and an A16.D16 I/O. The system provides up to 100 mic amps as well as additional line level analogue and digital I/O.
The new SSL System T will be available immediately to all existing live and broadcast clients. Perilleux says: "We have added the System T S300 to our recording and mixing services portfolio to expand and advance our technology resources, and to facilitate the largest and most ambitious productions.”
14th November 2018
Yamaha RIVAGE PM10 is the best for Blitz
UK – As a leading technical event production provider Blitz, a GES company, is committed to delivering the highest production standards. This commitment to quality and excellence is a key reason for investing in Yamaha’s flagship digital mixing system, RIVAGE PM10.
Alongside its theatre business, Blitz is the on-site supplier at many of the UK’s biggest, most prestigious venues and works with leading brands and agencies to produce high end live experiences. The company has a long association with Yamaha and a substantial inventory of QL and TF series digital consoles, as well as CL5s and the legendary PM1D, one of which was used for over a decade on Phantom of the Opera in London’s West End.
As a former touring and theatre mix engineer, Blitz director of sound Aron Ross appreciates the advanced capabilities of Yamaha digital mixers. Working alongside the company’s chief sound engineer, Rob Handyside and head of theatre and sound project development, Martyn Hunt, all were keen to work with the RIVAGE PM10 digital mixing system.
“We are really excited about the new technology and the enhanced capabilities that RIVAGE PM10 offers,” says Aron. “The Rupert Neve Designs SILK processing is a big draw for us and, since investing in the system, the latest firmware update has added key features for the theatre market. It broadens the scope of current offering to our clients and we are very happy to build on our long-standing relationship with Yamaha.”
Inevitably, the Blitz rental stock is rider-driven, so it is quite telling that the company has so many Yamaha digital consoles. One advantage that Yamaha offers is the commonality of user interface, so RIVAGE PM10 will be familiar to anyone who has worked with the company’s other current mixers.
When the RIVAGE PM10 system was delivered during October, Yamaha’s Chris Irvine, Tom Rundle and Reece Stead headed to Blitz’s premises in Elstree, London, to run through some of its deeper functions. The Blitz team could also compare it with the company's other Yamaha mixers including a PM1D, still working perfectly nearly 20 years after its introduction!
“Yamaha’s support has been great all the way through, from our first thoughts of investing in RIVAGE PM10 through to their after-sales support,” says Aron. “We have a great relationship and I know that they will be there for us at any time if we need them.”
The system swiftly headed to Barcelona for a major corporate event, at which the plenary speech was mixed by a renowned theatre sound engineer.
“We work with some of the most exciting clients who demand the very best. We invest in top flight people and technology to deliver that, so having Yamaha’s flagship mixing system puts us in an excellent position. RIVAGE PM is a very exciting range and we are delighted to be able to offer it to our clients,” Aron concludes.
In picture: Peter Russell, Rob Handyside, Aron Ross, Martyn Hunt and Adam Rudd of Blitz with the RIVAGE PM10.
14th November 2018
Loving Rex Orange County is Easy for Robe
UK – Talented rising star singer, songwriter and multi-instrumentalist Rex Orange County (Alexander O’ Connor) has been making a big impact across the UK on his first full production tour and, ensuring that the lighting has also looked fresh, interesting and appropriate, is Will Kinnaird.
Will maximised the small size, brightness and versatility of Robe’s LEDBeam 150 moving lights, taking 24 of these on the bus-and-trailer tour where the 24 fixtures fitted neatly into three small flightcases. They proved a perfect tool for the low-profile aesthetic that he crafted for the tour, working closely with the artist’s show designer, Jed Skrzypczak.
The LEDbeam 150s and some other lighting were used at every show in conjunction with the ‘top’ rigs at each venue.
When it came to the London gig at the iconic Hammersmith Apollo, the LEDBeam 150 count was boosted to 51 and six MegaPointes were added to the rig, all supplied by High Wycombe-based rental company, Siyan.
For the main tour, the 24 LEDBeam 150s were deployed in three horizontal lines across the stage where they accentuated the clean and straightforward appearance of the performance space, adding depth, dimension and a degree of structural shaping.
For Hammersmith, Will enlarged the touring design and added 25 LEDBeam 150s in the air on five LX trusses overhead, which were combined with 26 on the floor. Together these proved great for constructing numerous scenes, lighting the set pieces and providing an array of bright beamy looks and aerial effects.
“They were the workhorse fixtures,” he explained, “creating the main architectural looks as well as washing across the whole stage where they were ideal for covering the space and the band members, or for rapid movements, quick flicks and accents on the faster and bouncier numbers”.
In addition to the brightness and small size, Will also likes the zoom and the smooth colour mixing.
He’d previously used LEDBeam 150s on another gig, also working with Tom Grant, the account handler / project manager from Siyan who took care of this tour. Suitably impressed, he went on to spec them for the ROC tour.
“It was really a 'no-brainer',” he confirmed, adding that they also fitted the budget, which was joy to the ears of tour manager Adam Carr.
For Hammersmith, he wanted some additional 'oooph' on stage and strong sidelights with good colour mixing as well as gobos to craft various looks. Additionally he needed a high-impact ‘mirrorball moment’, and MegaPointes were another obvious choice.
He describes the MegaPointes as: “Fantastic, and currently my favourite hybrid fixture!”
He programmed and ran the light show using an Avolites Sapphire Touch console.
The biggest overall challenge of lighting on the tour was to maintain continuity in every venue and having the LEDBeam floor package helped achieve this.
At Hammersmith the goal was to maintain the sense of intimacy and cosiness that permeated the touring gigs, even though it was a much bigger venue and ROC’s largest show to date. Such is the buzz and his popularity that it sold out in a day, so there were many expectations.
Will has been using Robe products in his work since the start of his professional lighting career eight years ago. As a freelance LD and programmer he ran lighting for several London club nights and that’s where he first used Pointes and loved them.
On Robe generally he commented: “They are simply going from strength-to-strength.”
From the rental company angle, Tom Grant explained that Siyan has been buying the LEDBeam 150s since their launch in Spring 2017 and MegaPointes have been a major part of 2018’s new moving light investments.
The company has been a Robe customer for some time and has a lot of fixtures in rental stock.
“Both these fixture types are popular and flexible” stated Tom adding that the LEDBeams can also be very used in very discreet applications due to the tiny size.
MegaPointe fits their inventory as an ideal all-round medium sized hybrid fixture and the units are constantly busy both on Siyan’s own shows and tours, and as a cross hire item.
Tom has enjoyed servicing this ROC tour and comments that Will is: “Fun and very easy to work with.”
Will started his lighting career at Hertfordshire University where he took an Aerospace Technology with Pilot Studies degree. Getting a part time job in the Student Union’s well known Forum venue he realised that he preferred lighting to his studies, and eight years later, he’s still doing it!
He’s worked with ROC since the summer and his first gigs with them were as part of the Leeds Reading Festival weekender which was televised live, just to add a bit of extra pressure!
At Hammersmith, Karl Lawton was lighting crew chief, working alongside technicians Jon Barlow and Ted Parker, all from Siyan.
photos: Lindsay Cave
13th November 2018
Popular musicals highlighted by moving heads from SGM Light
Denmark - Lighting designer Mike Holm has been in charge of many light installations throughout his career but had his first encounter with SGMs G-4 Wash for the successful Danish musical Seebach. After almost a year-long run with over 200,000 tickets sold, Seebach became the best-selling musical in Denmark in 15 years.
“Besides living up to all our performance demands, we chose the G-4 Wash because of its compact size that makes it easy to adapt to various staging designs,” said Mike Holm.
In the past, Mike has used moving-head fixtures that were a lot more difficult to install due to their bigger physical size. With great performance in a compact size, the G-4 Wash turned out to be the perfect luminaire for both the Seebach and Tarzan musicals.
“The G-4 Wash has a Fresnel lens, which avoids having to work with multiple shadows that you get from fixtures that uses multiple light sources. On top of this, the G-4 Wash has great colour rendering with a CRI over 90, providing the perfect conditions to beautifully highlight the actors on stage. Quality light with perfectly matching colours is absolutely necessary for theatrical installations but having all this in an IP65-rated and compact sized fixture, makes our job a lot easier,” explained Mike.
Mike has previously used SGM fixtures from both the P-series and the Q-series, but for the Seebach musical, he and his team decided to try the G-4 Wash. While it was the first time on stage with the talented lighting designer and his team, the G-4 Wash was quickly specified for the next musical Tarzan.
“Honestly, the G-4 Wash wasn’t really a conscious choice for the Seebach musical, but after working with it, we quickly specified it for the Tarzan musical. It is super easy to clean and maintain, and the performance has been stable show after show. During the Seebach musical, we’ve had to replace a few other fixtures, but none of the G-4 Washes have had any issues,” said Mike and continued.
“As we build these fixtures into the stage, with some of them hanging in places that are super hard to get to, this is a huge plus. Great performance, compact size, and a stable fixture; this is not the last time we’ve used the G-4 Wash,” stated Mike, who enjoyed the benefits of having IP65-rated fixtures that kept them protected from both water and dust.
photos: Søren Malmose
13th November 2018
Global Superstar Jason Derulo Delivers High-Energy “2Sides World Tour” Across Europe Using Wigwam Acoustics’ Meyer Sound Leo Family Rig
Europe – Riding a string of hit singles, from his chart-topping “Whatcha Say” and “Talk Dirty” featuring 2 Chainz to this year’s “Goodbye” with David Guetta featuring Nicki Minaj and Willy William, Jason Derulo blazed through European arenas this fall on his “2Sides World Tour.” To deliver Derulo’s incandescent blend of R&B, hip-hop and pop with intimacy and impact, production manager and FOH engineer Rick Wright Jr. relied on a Meyer Sound Leo Family reinforcement system supplied by UK-based Wigwam Acoustics.
For Wright, who has mixed Derulo’s live shows for the past four years, the Meyer Sound rig was a welcome reprise of what he had experienced two years ago on the artist’s prior European tour.
“I decided to go with Leo Family again because sonically this PA has everything I’m looking for,” he says. “The high end is very controlled, and the low-mids translate smoothly and evenly throughout the largest arenas. You never have the problem of getting 200 feet out and having the sound fall apart. It’s coherent out to the far seats across the full frequency range.”
After working a number of festivals and one-offs with house systems, Wright says the Leo Family was like coming home. “With this system everything meshes together,” he says. “I’m not hunting or searching for things. It all comes back the way I remember it.”
Wright recalls first hearing a Leo Family system while working with Show Systems in Orlando. “They were doing a show at Sea World using a Lyon-based system with the Steve Miller Band,” he recalls, “and I was blown away by the power and clarity. The coherence and fidelity clearly defined all the subtle differences in the mix, between two guitars or between voices of two background singers, for example. Leo Family has been at the top of my rider list ever since.”
In the larger arena configuration, the Wigwam-supplied Leo Family allowed deployment of 11 Leo over four Lyon line array loudspeakers, with 24 additional Lyon plus 16 Leopard line array loudspeakers available for side hangs and front fills. Bass impact was supplied by dual flown cardioid arrays of six-each 900-LFC low frequency control elements along with floor-stacked, three-high cardioid arrays of 12 total 1100-LFC low frequency control elements. For stage side fill, three Leopard line arrays were flown under a single 900-LFC.
Wigwam Acoustics also had supplied the Leo Family rig for the 2016 tour, and that prior experience prompted Wright to call Wigwam contracts manager Geoff Muir when the 2018 tour was first proposed. “Geoff has been incredibly responsive to whatever I need, even when I call in the middle of the night,” he laughs. “We had originally scheduled this tour in March, and when I rescheduled for the fall I was still working on what I wanted for front-of-house just a week out. When I finally decided, they had it all prepped in the shop and ready to go the next day. So, nothing but thumbs up and pats on the back to Wigwam.”
Wright also gives kudos to his Wigwam crew on the road, with a special nod to systems technician Bill Laing who tends to the tech details along with monitor tech Richard Cook and PA/stage tech Nick Davis. Working directly for tour production are monitor engineer Evan Lineberry, Pro Tools and recording engineer Ben Hogarth, vocal systems engineer Ben Briggs, FOH Assistant Ivan Zambrano, and backline technicians Ethan Novak and Wally Sparzak.
Wright mixes Derulo behind a DiGiCo SD7 augmented by his hand-picked outboard gear, including three Midas XL-48 preamps and Universal Audio Apollo interfaces. The vocal chain for Derulo includes a Neve 1073 preamp, an Empirical Labs distressor and a Manley Vox Box. Derulo currently favours a Telefunken M81 capsule on his Shure wireless hand-held, though Wright has experimented with an SE V7 capsule and is also considering a DPA d:facto capsule.
“I’m always experimenting with front end gear, always trying to get a better sound,” admits Wright. “And that’s another thing I like about this Meyer PA. When I try something new at front of house, I can immediately tell if it’s better or worse. There’s no hiding anything. It’s the perfect litmus test.”
The European leg of Jason Derulo’s 2Sides World Tour kicked off on 19 September and wrapped up on 30 October, with 27 shows scheduled across Ireland, the UK and western and eastern Europe.
Since launching his solo career in 2009, the multi-platinum superstar has sold more than 30 million singles worldwide, including the top-charting “Whatcha Say,” “Want to Want Me,” and “Talk Dirty” featuring 2 Chainz. His live performances are known for consummate showmanship that fuses high energy dance and physical sensuality with dazzling techno-spectacle.
13th November 2018
Fully redundant DiGiCo SD12 system delivers flawlessly for Pope Francis mass in Lithuania
Lithuania – At the end of September, Pope Francis kicked off his four day Baltic tour, which included Lithuania, Latvia and Estonia, with a Holy Mass in Sàntakos Park in Kaunas, Lithuania. The event attracted over 100,000 faithful to the park where local rental company, NGR Service, provided an extensive sound system, deploying two SD12s for the live mix, as well as the broadcast and press feeds.
“NGR was chosen for this important event because of the quality of its equipment, of which DiGiCo is an important part, and its exemplary service,” says Ramūnas Alenskas from DiGiCo’s Lithuanian distributor Sonus, which supported NGR with additional stage boxes and cabling. “They used the two DiGiCo SD12s along with two SD-Racks, a D2-Rack and an SD-Mini Rack, which were deployed for their sound quality and their ability to connect to all six racks in fully redundant mode.”
NGR owner Valdemaras Karpuška was sound director for the event, with Tomas Ždanovičius manning the FOH position and producing all the sound system designs.
“For the show, we had two stages, the main stage was just used for speeches, so the SD-Mini Rack was employed for the connection of 16 microphones,” explains Valdemaras. “For the orchestra/chorus stage, we had a total of 54 inputs for main program, which comprised 86 musicians and more than 300 singers plus two soloists, as well as 60 outputs provided for OB truck to mix the live broadcast. In addition, we had an extra 20 channels in the input list for the band that was playing from 5am to 10am as a warm up performance before the Pope came to the park. In total we had 92 input channels for the Pope visit show.”
The DiGiCo system included a DMI-MADI-B and DMI-MADI-C card installed in each of SD12s. On the main stage, the SD12 DMI-1 (with DMI-MADI-B) was connected to the SD-Mini Rack’s main connection. This was mirrored to the second SD12’s DMI-1 (with DMI-MADI-B) to the SD-Mini Rack’s Aux which allowed for full audio and control link on both SD12s for the main stage.
For the Orchestra/Chorus stage, the two SD-Racks were connected to the SD12’s local MADI via BNC MADI snakes with SD-Rack 1’s main connected to the main SD12 MADI 1, with the Aux to mirror the SD12 MADI 1 and SD-Rack 2’s main connected to the main of SD12 MADI 2, with the Aux again mirroring SD12 MADI 2. Finally, the D2-Rack was connected via two CAT6 cables, with the main going to the main of SD12 DMI-2 (with DMI-MADI-C) and the Aux to mirror SD12 DMI-2 (with DMI-MADI-C). Both DiGiCo SD12 consoles were linked together with Cat5 cable to be able to mirror the main SD12.
“It was extremely helpful to be able to distribute the stage racks in a few locations, and the easy set-up, fast programming, and user-friendly interface of the SD12s really was the key to successful preparation for such a huge project.
“But, bearing in mind the importance of the event, being able to have a fully redundant system, where we could mirror the two consoles and stage racks, played a key role in us choosing DiGiCo for this event.”
“DiGiCo’s James Bradley was with us on preparation and event day,” concludes Ramūnas. “Having James with us before the event and on the field was invaluable and is a great example of DiGiCo’s outstanding support. We are delighted to report that the organizers were more than happy with the result.”
13th November 2018
Massive Productions Lights Flying Dutch Curaçao with Chauvet Professional
Curaçao – Since it started in 2015, the Flying Dutch festival has employed a novel method of spreading DJ wealth in The Netherlands. Taking place simultaneously in Amsterdam, Rotterdam and Eindhoven, it shuttles the country’s leading DJs from city to city by helicopter throughout the day, so every fan in each location gets to see the entire all-star line-up of performers. This year, the festival added a fourth site to its roster, and though it was much further than a helicopter ride away, the island of Curaçao provided a setting that Flying Dutch festival fans (and performers) are never likely to forget.
Taking place on 25th October, a stone’s throw away from the white sanded Seaquarium Beach (aka Mambo Beach), Flying Dutch Curaçao offered breathtaking vistas, a non-stop party atmosphere, and a chance to take in performances by artists like Armin van Buuren, Sunnery James and Ryan Marciano, as well as local stars DJ Menasa and multi Latin Grammy-nominated Jeon and other leading DJs on a massive 45 metre wide by 19 metre high stage. Supporting their performance with some dazzling and colourful visuals was a light show designed by Dutch LD André Beekmans that featured Chauvet Professional fixtures, supplied by Massive Productions.
Beekmans deployed 32 Rogue R2 Spot, 16 Rogue R2 Wash and 16 Rogue R2 Beam fixtures, along with 16 Q-Wash 560Z units and 48 Chauvet DJ COLORband PiX linear lights on the massive festival stage. “The look he created was huge,” said Massive Production’s Jimmy Lo-A-NJoe, who oversaw the project. “We got a lot of very positive comments on how the stage drew people into the performance. It had the Flying Dutch look, so it fit into the theme of the festival, but at the same time we also gave it a local flavour by using the blue, yellow and white colours of the Curaçao flag.”
The 32 Rogue R2 Spot fixtures in the rig were spread out on the downstage deck across the width of the stage to accent its size. From this position, they were used for aerial effects, specials and backlighting the performers. “The Spots had the output needed to fill the stage and emphasize its big looks,” said Lo-A-NJoe. “They filled the stage with light without taking away from the performers.”
Also dominating the stage was a large LED screen used for IMAG images of the performers, commercial messages and breakout patterns. To balance the brightness of the video wall, the Rogue R2 beams were positioned around it and near the apex of the stage’s triangular backdrop. “The Beams are extremely bright,” said Lo-A-NJoe. “We had no issue with them showing up against the video wall’s output. We used the Rogue Washes in our rig to change the colour of the whole stage, which created different moods, and we lighted the DJs with them.”
Accenting the impressive stage backdrop were the 48 COLORband PiX fixtures in the rig. Arranged in two layered triangles, the fixtures created a halo effect around the stage, giving it added depth and creating a greater sense of immersion.
Color and output were the features that stood out most about the Rogue and COLORband PiX fixtures for Lo-A-NJoe. “We were really pleased with how the Rogues covered the stage,” he said. “We also loved the eye candy we got from the COLORband PiX fixtures. They were definitely a hit. I was immensely proud seeing the end result. Doing this festival was an amazing journey, and I’m thankful to Maarten Hoogland of Alda Events and Harman Harms of Sterck Events for making it possible for us to be a part of it.”
Still, the Flying Dutch festival was not without its challenges. “Set-up took five days and it was raining all the time,“ said Lo-A-NJoe. “Yet, our lights never failed. In the end, everyone at the festival had a great time.”
With a setting like this, performances by superstars and a stunning light show, it’s easy to see why the good times kept flowing rain or shine.
13th November 2018
Illuminate Lighting Continues to Grow with Strength with Further Investment into Green Hippo
UK – A.C. Entertainment Technologies Ltd. (AC-ET) has provided a range of video solutions, including an additional Hippotizer V4+ media server to Illuminate Lighting, to expand its rental stock offering.
Illuminate Lighting Ltd. was founded by entrepreneur Jonathan Pask to provide lighting control systems exclusively to rental houses. Since then, he has expanded their offering to include video control systems.
Jonathan has deliberately kept the focus on these systems and credits that to the business’s strong growth. He commented: “I think what makes us successful is that we offer a concise range of services. Rather than offering everything, we strive to excel at what we do offer.”
The reputation of Jonathan and Illuminate Lighting has grown thanks to its high standard of customer service. He continued: “Clients know that when their hire turns up it will be fully tested and built exactly how they need it. For clients who want technical support as well as equipment, we work with them to ensure they have exactly what they need to achieve their goals.”
Jonathan has always made sure to understand his clients' needs, to determine the direction of the business and the products he should have as rental stock; including their latest investment of another Green Hippo Hippotizer V4+ media server.
“I chose to invest in the Boreal+ to provide a high output, powerful server that could handle the larger projects we are working on as we continue to grow. Our Karst+ media servers have been fantastic, but we needed to be able to do even more and the Boreal+ was the natural next step for us,” stated Jonathan.
“Green Hippo media servers are our preferred choice because of their power, reliability and ease of use. They are the perfect tool for our diverse range of clients.”
Alongside the Boreal+, AC-ET has provided Illuminate Lighting with Luminex GigaCore network switches, Lightware matrices and Blackmagic Design editing equipment to create tour-ready racks.
Jonathan concluded: “I love working with AC-ET, particularly Stuart and Chris in the video division. I know I can call them up and get the technical support and product advice I need and they will do everything they can to get my last minute requirements out to me in time.”