Standards News

Fifteen ESTA standards in public review and a new project

Fifteen ESTA standards and draft standards are available for public review on the ESTA TSP website at http://estalink.us/pr. Anyone materially affected by any document is invited to review it and to offer comments before the deadline. The review documents are available for free; downloading it costs you nothing but your time. The listing below is an alphanumeric sort. The comment due dates for the different documents are not all the same; please take note.

ANSI E1.17 – 2015, Entertainment Technology – Architecture for Control Networks (ACN), is being considered for reaffirmation – no substantive changes. It is a suite of documents that specifies an architecture, including protocols and language, which may be configured and combined with other standard protocols to form flexible, networked audio, lighting, or other control systems. The suite of documents is offered in a zip file for download. Comments are due no later than 30 December 2019.

ANSI E1.19 – 2015, Recommended Practice for the Use of Class A Ground-Fault Circuit Interrupters (GFCIs) Intended for Personnel Protection in the Entertainment Industry, is being considered for reaffirmation with no substantive changes. It offers guidance, in accordance with existing applicable standards, on how to select, install, use and maintain ground fault protection devices with nominal 5 mA trip settings in the entertainment industry. The purpose of their use would be to protect persons from shock and persons and property from fire. Comments are due no later than 30 December 2019.

BSR E1.2, Entertainment Technology – Design, Manufacture and Use of Aluminium Trusses and Towers, describes the design, manufacture and use of aluminium trusses, towers and associated aluminium structural components such as head blocks, sleeve blocks, bases, and corner blocks in the entertainment industry. It is being revised to bring its requirements up-to-date with current technologies. Comments are due no later than 23 December 2019.

BSR E1.4-3, Entertainment Technology – Manually Operated Hoist Rigging Systems, applies to permanently installed, manually operated hoists used as part of rigging systems for raising, lowering, and suspension of scenery, properties, lighting, and similar loads. This standard establishes requirements for the design, manufacture, installation, inspection, and maintenance of manually operated hoist systems for lifting and suspension of loads for performance, presentation, and theatrical production. Comments are due no later than 30 December 2019.Comments are due no later than 30 December 2019.

BSR E1.6-2, Entertainment Technology – Design, Inspection, and Maintenance of Electric Chain Hoists for the Entertainment Industry, covers the design, inspection, and maintenance of serially manufactured electric link chain hoists used in the entertainment industry. The standard is being revised to provide more clarity or requirements. Comments are due no later than 23 December 2019.

BSR E1.20, Entertainment Technology – Remote Device Management over USITT DMX512 Networks, is a revision of ANSI E1.20 – 2010. The standard is being revised to clarify ambiguities, fix bugs, and incorporate some additional features. E1.20 is an extension to USITT DMX512 and ANSI E1.11 that allows for bi-directional communication on the primary data link. This allows a controller to discover RDM-enabled devices on the link, to set starting addresses and other configuration settings, and to request status messages. Comments are due no later than 30 December 2019.

BSR E1.21, Entertainment Technology – Temporary Structures Used for Technical Production of Outdoor Entertainment Events, establishes a minimum level of design and performance parameters for the design, manufacturing, use and maintenance of temporary ground-supported structures used in the production of outdoor entertainment events. The purpose of this guidance is to ensure the structural reliability and safety of these structures and does not address fire safety and safe egress issues. This standard also establishes a reasonable standard for care by providing the minimum acceptable requirements at which temporary structures shall be designed and used. Comments are due no later than 30 December 2019.

BSR E1.23, Entertainment Technology – Design, Execution, and Maintenance of Atmospheric Effects, offers advice on the planning, execution, and maintenance of theatrical effects using glycol, glycerin, or white mineral oil fogs or mists, in theatres, arenas, motion picture studios, and other places of public assembly or motion picture production. The guidance is offered to help effects designers and technicians create effects that can be executed repeatedly and reliably, and so that they can avoid excessive exposure to the fog materials and other foreseeable hazards. The revision includes guidance on developing strategies to maintain an effect over the months or years of a long-running show or an extended motion picture shoot. Comments are due no later than 23 December 2019.

BSR E1.37-5, General Purpose Messages for ANSI E1.20, RDM, provides additional Get/Set parameter messages (PIDs) for use with the ANSI E1.20 Remote Device Management protocol. Comments are due no later than 30 December 2019.

BSR E1.47, Entertainment Technology – Recommended Guidelines for Entertainment Rigging System Inspections, covers the inspection of entertainment rigging systems. Rigging systems may be statically suspended (stationary) (dead hung) equipment, manually operated counterweight sets, manually operated hoist sets, rope and sandbag (hemp) sets, and electric hoist sets (including winding drum hoists, packaged hoists, powered counterweight sets). The document includes inspection of fire safety curtain systems, rigging only. Rigging systems frequently include combinations and variations of rigging types. Comments are due no later than 30 December 2019.

BSR E1.62, Minimum specifications for mass-produced portable platforms, ramps, stairs, and choral risers for live performance events, is a product specification covering serially manufactured portable platforms, stair units and ramps used with those platforms, and choral risers. It also would cover railings provided as fall protection accessories for these units. It would give minimum payload and sideways force handling specifications. It would not cover custom platforms or complete stage systems. Comments are due no later than 23 December 2019.

BSR E1.66, Safety Standard for Followspot Positions Erected for Short-term Use in Entertainment Venues, covers safety requirements for followspot positions in, or on, structures erected for short-term use, and positions not covered by ANSI E1.28. It is applicable to positions located indoors or outdoors. It addresses structural, electrical, and personnel safety requirements associated with them. Comments are due no later than 23 December 2019.

BSR ES1.9, Event Safety – Crowd Management, defines "crowd management," as distinguished from "crowd control," provides an overview of crowd management theory and vocabulary, and applies these terms to certain reasonably foreseeable risks that arise during live events. The standard is intended both to identify minimum requirements and to provide questions and suggestions that help event organizers make reasonable choices under the circumstances of their event.  Comments are due no later than 30 December 2019.

BSR ES1.7, Event Safety Requirements – Weather Preparedness, addresses the consideration, development and use of weather planning strategies to mitigate weather-related risks associated with live events and their associated temporary special event structures. Its scope includes both indoor and outdoor events, because both have considerations for attendees. Its scope includes sites not specifically designed for public events, as these too represent unusual or unique circumstances relating to risk assessment and mitigation. Comments are due no later than 23 December 2019.

BSR ES1.19, Safety Requirements for Special Event Structures, addresses structural safety for any temporary structure used for special events ("temporary special event structures"), where such structures are used for presentation, performance, structural support of entertainment technology equipment, audience seating or viewing in conjunction with the event, and regardless if the event is indoor or outdoor. It is being revised to correct errata, and to add further clarity to its scope and requirements. Comments are due no later than 23 December 2019.

BSR E1.21, Entertainment Technology – Temporary Structures Used for Technical Production of Outdoor Entertainment Events, is a revision of ANSI E1.21-2013 to deepen the requirements for operations management plans, designated person responsibilities, and related requirements. E1.21 establishes a minimum acceptable level of design and performance parameters to ensure structural reliability, safety, and to establish a reasonable standard of care for temporary special event structures.

And a NEW project:

BSR E1.69, Reporting the Low-End Dimming Performance of Entertainment Luminaires Using LED Sources, shall describe a way of showing the end-user or equipment specifier the low-end dimming performance of LED luminaires, when the luminaire output level is set by a control signal varying over the low-end range from 10% to 0%. Right now, there is no way for an equipment specifier to see and compare the low-end dimming of a luminaire without actually looking at the unit, and then there is no way to tell another person what the specifier saw without using subjective terms. Marketing terms, such as "theatrical quality dimming" or "dims smoothly to black," seem to say something, but really have no objective meaning. Interested? Contact Karl Ruling, standards@esta.org

12th November 2019

Laserworld-Academy offers Laser Safety Officer Seminars

Laserworld-Academy offers Laser Safety Officer Seminars

Germany - Laser safety regulations are different in every country. Regulations in Germany require a Laser Safety Officer (“Laserschutzbeauftragter”) to take responsibility of any laser system class 3R, 3B or 4 that is used.

The Laserworld Academy has been offering their certified Laser Safety Officer Seminars in German language for many years. “The more diverse the society gets, and the more companies work all across Europe and worldwide, the more demand came up for those specific Laser Safety Officer Seminars in English language for the German market,” explains Norbert Stangl, CMO of the Laserworld Group and Head of the Laserworld Academy. “We can definitely see the demand for this kind of certification and therefore scheduled the first dates for 2020.”

The contents of the LSO Seminars meet the requirements of the German legal framework for laser use (OStrV and TROS) and base on the international regulatory IEC 60825-1. After having successfully passed the final test, participants can be applied as “Laserschutzbeauftragter” for work with laser systems in Germany. The seminars are suitable for lasers used for industrial purposes, lasers used in trade and laser show/display.

The Laser Safety Officer trainings take a whole day. The schedule is according to the specifications in TROS.

9th October 2019

PLASA launches NELT, training for production professionals

PLASA launches NELT, training for production professionals

UK – PLASA, the leading association for the live entertainment technology industry, has launched National Lifting Event Training (NELT), a training programme for production technicians who use lifting equipment during event production.

NELT has been carefully designed in conjunction with the Live Event Production Group with the aim of improving safe working practices of lifting operations. Some experience working in the live events or broadcast industries is recommended but not essential.
The course will take place across three days under the guidance of expert trainers in specialist facilities where the trainees will complete a series of practical activities and receive guidance on how to establish cohesive and safe working partnerships with NRC riggers. Upon successful completion, the candidate will receive a certificate and a listing on the PLASA website which will be viewed by prospect employers, venues and clients.

NELT is a valuable addition to PLASA’s skills portfolio which also offers the widely recognised National Rigging Certificate (NRC), a trainee rigger pathway, and a year-round programme of professional development training across a range of business and technical topics.

Nicky Greet, PLASA’s director of membership, skills and technical comments: “PLASA is pleased to offer this National training for production technicians that has been developed in collaboration with industry professionals on PLASA’s Live Event Production group. The aim of NELT is to standardise good practice and knowledge, making work environments safer and more efficient for all those involved.”

NELT is currently available at UK Rigging in Bolton and Production Services (PSI) in Northern Ireland, with more approved centres expected next year. Candidates must first enrol on the PLASA website at www.plasa.org/nelt

9th October 2019

KV2 Audio partners with RADA to offer training opportunities for sound students

KV2 Audio partners with RADA to offer training opportunities for sound students

UK – KV2 Audio has announced a partnership with RADA (Royal Academy of Dramatic Art) to support the training of young students in theatre sound production. KV2 has provided a range of EX Series loudspeakers to equip RADA’s Jerwood Vanbrugh and Gielgud theatres, and will also offer masterclasses on sound design and the use of point source technology in a theatre environment.

RADA’s head of sound, Steve Mayo, is delighted that KV2 has chosen to become a RADA in-kind partner. “These partnerships are the life-blood of hands-on training for our students,” he declares. “I am very eager for our sound students to have the opportunity, not only to work with high quality, modern equipment, but also to meet the people behind it. “The support we’ve had from KV2 has been invaluable in paving the way for this partnership, from our initial conversations at ABTT in June through to them organising for all our students to have a proper demo of the full KV2 range at PLASA last month.”

Mayo recalls that his decision to approach KV2 was sparked initially by well-known theatre sound designer, Richard Brooker, when he came in to talk to the students about working on musicals and mentioned that KV2 had become an important part of his designs. He was further prompted by the fact that Autograph Sound (with whom RADA already has a close relationship) are an important KV2 user, a fact endorsed by Autograph sound designer, Avgoustas Psillas: “We were lucky enough to get Avgoustos in to mentor to our sound design students when we were preparing for our musical production during the last summer term, and he was very complimentary about KV2, just as Richard Brooker had been. I was able to meet Tom Weldon from KV2 at ABTT for an initial conversation and arrange a visit for him to RADA so that he could see for himself the level and quality of training we offer our students.”

Following the visit, Weldon had no hesitation in agreeing to the partnership. “We’re very keen to work with the technicians, engineers and designers of the future and feel that we can contribute to offering them a solid grounding in modern theatre techniques with equipment that is actually in use in productions across the West End and Broadway as well as on national tours. We’re proud to be able to make a positive contribution to the education of future generations.”

Mayo wholeheartedly agrees: “RADA does an amazing job in terms of the amount of productions we do,” he explains. “Over the course of this academic year we will mount thirteen RADA productions across three venues as part of the Technical Theatre and Stage Management course in collaboration with the third year actors training. The partnership with KV2 hugely improves our FOH systems for both the Jerwood Vanbrugh Theatre and the Gielgud Theatre and is incredibly exciting for the students and the productions to be using state-of-the-art equipment for their learning.”

8th October 2019

L-Acoustics Spotlights AVB Networking at AES

L-Acoustics Spotlights AVB Networking at AES

USA - The AES Convention’s technical programme has long been praised by seasoned audio professionals and students alike for its rich schedule of educational and training seminars offered at each gathering. This month, at the 147th convention and exhibition held at NYC’s Javits Center, L-Acoustics team members will be leading and/or participating in seven AES presentations, several of which will focus heavily on AVB (audio video bridging) networking and newly Milan-certified solutions, including the L-Acoustics P1 processor.

The first event, presented in room 1E13 at 9:00am on Wednesday, 16 October, will be a networked audio track panel session titled, “Solution-Based Approaches for Networked Audio in Live Production.” Moderated by Sound & Communications editor Dan Ferrisi, L-Acoustics director of electronics Genio Kronauer, one of the most recent members of the Avnu Alliance board of directors, and fellow panelists from Meyer Sound, Solotech, and other companies will share “how to” tips on working with Milan and AVB networking and practical use-cases from end users implementing Milan in live sound projects.

Kronauer will also participate in an Avnu Alliance-led session on 16 October for the Live Production Stage, starting at 2pm (LS04), titled “Milan Protocol: Deterministic AV Networks,” sharing an overview of the Milan product philosophy and benefits for the market, as well as case studies of live sound installations using a Milan network.

That same day, at 1:30pm in room 1E12, L-Acoustics product manager Scott Sugden will deliver a sound reinforcement track event titled, “Large-Scale Loudspeaker System Calibration from Simulation-Based Design to On Site Tuning.” The presentation will cover, among other things, the efficient implementation of the manufacturer’s Soundvision Autosolver tools, the benefits of Milan-compliant AVB networking as offered by P1, and the brand new M1 measurement platform, part of the upcoming LA Network Manager 3.0 release.

In the year since its debut, the multifunctional P1 AVB processor and measurement platform has firmly established itself as an indispensable tool for many audio pros. Designed from the very start to be compliant with Avnu Alliance’s new Milan interoperability protocol, P1 became one of the very first two products on the market to officially receive Milan certification through Avnu Alliance as a fully compliant Milan device earlier this year.

“Milan represents the pro AV industry coming together to define common protocols and ensure seamless interoperability between products, regardless of their brand,” says Kronauer. “What L-Acoustics and our fellow industry-leading manufacturers did with Milan was to take IEEE’s open AVB standard to a truly reliable and convenient ‘plug-and-play’ level, you simply connect a device and it works every time. This allows our users to focus on what they do best, which is creating amazing audio-video experiences for their clients and audiences.”

Designed to optimally deal with the real-time needs of professional media transport, Milan is a standards-based, user-driven deterministic network protocol that takes into account the specific needs of the pro AV market for moving time-sensitive, high-quality audio, video, and data across the network. Once network connectivity is established, Milan reserves bandwidth specifically for deterministic delivery, which ensures that users will never have a dropout or loss of information during a show or live performance.

Over the past year, numerous audio professionals have already enjoyed Milan’s benefits that the L-Acoustics P1 has provided, including tours for Hugh Jackman, Mark Knopfler, Madness, and Rammstein, as well high-profile installations at the Wells Fargo Center (home to the Philadelphia 76ers) and the iconic Hollywood Bowl.

According to Hollywood Bowl principal mixer and sound designer Fred Vogler, “There's a different show here almost every night and we have to stay on top of it every time. The Milan processors are easy to use and have a fidelity and a resolution that is really high. I've heard other types of digital transmission – we had AES in here – and it seems like the AVB Milan protocol is cleaner with enhanced fidelity, which makes it sound more natural. Also, in discussion with tours and other sound design folks that come through, we never get any pushback. We have to rely on it daily and alter or change it if necessary, so it is comforting to know that it's easy to use, has a great sound, and is something that, industry-wide, people are comfortable using.”

As a founding member of the Milan initiative, L-Acoustics has been able to build Milan into all of its amplified controllers and audio processors, concurrent with the development of the Milan standard.

The P1 processor is a unique, three-in-one unit that serves as a front-end processor, an audio matrix and bridge, as well as a system measurement and tuning platform, all in one convenient, robust package. The P1 takes the complex and hardware-intensive task of system optimization and streamlines it to a single piece of hardware, fully integrated with the industry-leading LA Network Manager software platform.

As a signal processor with equalisation, delay, and dynamics, its four analogue line inputs with premium A/D conversion assure the utmost sound quality. Integrating 20 inputs and 16 outputs in one rack space, the P1 can matrix, bridge, and distribute AVB, AES/EBU and analogue audio. Time-aligned redundant signal distribution guarantees artefact-free sound with the click of a button.

Updates to LA Network Manager will leverage P1’s four microphone preamps to create an analyzer that is aware of all system parameters. This technology enables system tuning without additional noise.

3rd October 2019

Three ESTA standards reaffirmed and published

On 9 Septembe, ANSI's Board of Standards Review approved the reaffirmations of three ESTA standards. The new editions are now published and available at no cost from the tsp.esta.org website or for purchase from ANSI and IHS. The three standards are:

  • ANSI E1.27-2 – 2009 (R2019), Recommended Practice for Permanently Installed Control Cables for Use with ANSI E1.11 (DMX512-A) and USITT DMX512/1990 Products, is a standard, as the title says, for permanently installed control cabling, not for portable cables. Portable cables are covered by ANSI E1.27-1.

  • ANSI E1.30-10 – 2009 (R2019), EPI 32 Identification of Draft Device Description Language Modules, is a recommended way of identifying a Device Description Language Module for ACN as a trial version, one under development, not for release yet. ANSI E1.30-10 is part of an open series of E1.30 documents that suggests ways of doing common tasks with ANSI E1.17, Architecture for Control Networks.

  • ANSI E1.30-3 – 2009 (R2019), EPI 25 Time Reference in ACN Systems Using SNTP and NTP, is another recipe in the E1.30 cookbook for ACN, Architecture for Control Networks. It offers ways of providing a time reference so that events can be synchronized.

The standards have a retail price of $40 each, which is the price from the ANSI or IHS on-line standards stores, but they are available at no cost from tsp.esta.org/freestandards because of the sponsorship of ProSight Specialty Insurance.

26th September 2019

Three Draft ESTA Standards Available for Public Review

Three new or revised standards are available for public review on the ESTA TSP website at http://estalink.us/pr. Anyone materially affected by the documents is invited to review them and to offer comments before the deadline. The review documents are available for free. They are listed below in order of action due-date. Note that the reviews do not all end on the same day.

BSR E1.62, Minimum specifications for mass-produced portable platforms, ramps, stairs, and choral risers for live performance events, is being offered for a fourth public review. The proposed standard covers mass-produced portable platforms, stair units and ramps used with those platforms, and choral risers, designed to be used for the presentation of music concerts, dramatic plays, fashion shows, and other entertainment and special events. The units covered by this standard are of a size and weight that allows them to be moved and erected by one or two people. The scope also covers the railings provided as fall protection accessories, and the legging systems. The public review runs through to 23 September; by the start of 24 September the review is finished.

BSR E1.4-3, Entertainment Technology – Manually Operated Hoist Rigging Systems, is a standard for permanently installed, human-powered manually operated hoists, used as part of rigging systems for raising, lowering, and suspension of scenery, properties, lighting, and similar loads. This standard establishes requirements for the design, manufacture, installation, inspection, and maintenance of manual hoist systems for lifting and suspension of loads for performance, presentation, and theatrical production. The public review runs through to 7 October. It is finished when 8 October starts.

BSR E1.21, Entertainment Technology – T emporary Structures Used for Technical Production of Outdoor Entertainment Events, is a revision of ANSI E1.21-2013 to deepen the requirements for operations management plans, designated person responsibilities, and related requirements. E1.21 establishes a minimum acceptable level of design and performance parameters to ensure structural reliability, safety, and to establish a reasonable standard of care for temporary special event structures. The public review runs through to 28 28. It is over when 29 October starts.

5th September 2019

ESTA Announces ANSI Approval of RDMnet

On 27 August ANSI’s Board of Standards Review approved E1.33 RDMnet, as an American National Standard. It is now published and available on the ESTA website at tsp.esta.org/freestandards. The American National Standard designation is internationally recognized as a mark of technical diligence and commercial impartiality.

Officially known as ANSI E1.33 – 2019, Entertainment Technology – (RDMnet) Message Transport and Management for ANSI E1.20 (RDM) compatible and similar devices over IP Networks, the RDMnet standard was developed by the hard-working, all-volunteer members of the TSP’s Control Protocols Working Group (CPWG).

RDMnet is a generational step forward, extending existing RDM functionality beyond the current physical limits of local DMX512 connections onto wide area hi-speed Ethernet networks. It allows for large-scale system monitoring and configuration while adding mobile device support. RDMnet also provides vendor agnostic configuration of network gateways, as well as system partitioning between multiple venues on the same Ethernet network. Multiple control consoles are now easily integrated and synchronised on the same control network.

RDMnet (as well as over 60 other safety and compliance standards) is available as a free download from tsp.esta.org/freestandards. ESTA’s free standards library made possible by the sponsorship of ProSight Specialty Insurance. The standard also may be purchased for $40 USD from the ANSI and IHS on-line standards stores.

5th September 2019

KLANG launches innovative education programme

KLANG launches innovative education programme
KLANG launches innovative education programme

Europe & Asia – German in-ear monitor mixing experts, KLANG:technologies, has launched a new-style of education programme, which encompasses typical in-depth product training, but augmented with user-friendly binaural academic theory, tailored and interactive content for different market sectors, and contributions from expert guest speakers.

“We try to make our training events educational, not just linear product presentations,” explains KLANG’s head of sales, Phil Kamp. “The opening section of the session doesn’t mention our system, it’s about the psychology of hearing, how our hearing works, how our brain deals with audio signals, and ultimately, how to provide an immersive and natural in-ear mix. Many of our attendees are seasoned audio pros who are very educated about how to operate a mixing board but haven’t necessarily drilled down to the theory about how our hearing works.”

Dates have already been successfully completed across Europe and Asia. Some of the sessions covering rock and festival sound have included guest pro users, such as System of a Down, Linkin Park and Anastacia’s engineers, who all shared how they use the KLANG system and their creative tips.

“I really enjoyed being part of KLANG’s Immersive mixing programme,”says Anastacia’s monitor engineer, Becky Pell, who presented at one of the sessions. “KLANG excites me for two reasons: it allows me to create incredibly spacious and natural sounding IEM mixes even when I have a huge number of inputs; and, it greatly reduces ear fatigue and the need for high sound levels, which means healthy hearing for life.”

The objective of KLANG’s training programme is to enable attendees to learn about successfully providing an immersive sound experience that mirrors normal aural activity. The sessions explore the company’s design ethos, explaining why certain features are included, and how the R&D team analyses a huge spectrum of pro audio equipment and instruments to discover and tackle the biggest challenges for musicians and engineers.

“Each training session is tailored according to who’s attending,” continues Kamp. “This means we can look at the appropriate ways the system can be used, be it a rock ‘n roll environment or house of worship, and make it an interactive experience for the delegate.”

Headquartered in Aachen, Germany, KLANG:technologies is the world’s first manufacturer of truly immersive in-ear monitor (IEM) mixing technologies. Its mixing engine is specifically designed to be used with IEMs and provides musicians with individual, natural and three-dimensional sound. It enables the brain’s natural capability to sort and prioritize audio within the mix, not only providing transparency, but also lowering levels as sounds merge rather than conflict.

“The product itself is incredibly user-friendly, and the training programme is fun and interesting,” concludes Pell. “KLANG is the evolution of IEM mixing. Goodbye stereo; it’s been a blast, but this is the future!”

28th August 2019

NEC Group Apprentices Become First in the UK to Pass Rigging Apprenticeships

NEC Group Apprentices Become First in the UK to Pass Rigging Apprenticeships

UK – Four apprentices working for the NEC Group have recently become the first in the UK to complete their Live Event Rigging Apprenticeship.

Sam Carr, Tyler Smyth, Luca Monaco and Connor Millington have had the opportunity to work across a range of live events at Arena Birmingham, Resorts World Arena and the NEC during their three-year apprenticeships.

Completed under the eagle eye of expert assessors from The JGA Group, the end point assessment is the first of its kind. Created by both the NEC Group and JGA, the assessment was developed to test the skills that the apprentices have learnt over the three years and give them the next step in their career.

Over the past three years, the apprentices have also achieved their Level 2 National Rigging Certificate and rigged for world-class concerts and exhibitions. The assessment saw the apprentices evaluated for their work in real scenarios, with Sam and Tyler rigging for a show at the NEC, and Luca and Connor rigging for the Gurdas Maan concert at Arena Birmingham.

After deciding university wasn’t for him, Sam Carr applied for a rigging apprenticeship with the NEC Group in 2016. He said of the experience: “I’ve learnt so much over the course of the apprenticeship. When I first started my knowledge of rigging was non-existent, but over the last three years I have acquired a wealth of skills and qualifications and now I’m a fully competent rigger.”

Angela Walsh, Apprentice Co-ordinator at the NEC Group, said: “At the NEC Group we are committed to providing opportunities that can offer career stability in fun and dynamic environments. Offering the Live Event Rigging apprenticeship has allowed our apprentices to learn from fully experienced riggers with years’ of experience and will help them towards the next step in their career. I know that a couple of our apprentices are hoping to travel the world with their qualifications, supporting touring shows, and I am confident we have given them the skills they need to flourish.”

It’s a busy week for students across the country as they open their GCSE results. An apprenticeship could be a great next step to get started in a new career. The NEC Group has already placed more than 30 apprentices in 2019, with almost 20 apprenticeships currently available in a variety of different disciplines, spanning its business, leisure, and entertainment venues.

22nd August 2019