direct from: www.etnow.com Regulars Contents this month Jobs and Careers Web Directory Features Issue: 345 Martin Dudley and ChamSys Captivate at Heaven 17 page 15 Novenber 2021 Chroma-Q, Vista by Chroma-Q and PROLIGHTS have once again taken to the stage with the Arcola Theatre for its recent production of Die Valkure. Steve Richardson of Full Production was tasked with lighting for “The Awakening,” an immersive show inside St. Michael’s Cave. MLA Comes Alive at Brockwell Park page: 12page: 22 page: 2 page: 31 pages: 28 to 31 Capital Sound provided sound reinforcement on the four main stages, with the principal three featuring Martin Audio MLA loudspeaker arrays. Hawthorn has transformed into Encore! Visit our new hire website hire.encore-emea.com w: encore-emea.com t: 01664 821 111 e: hire-uk@encoreglobal.com KL Panel XL: Full colour spectrum LED soft light with muscle and multi-zone control Broadcast designers of all types have been turning to Elation’s colour temperature-adjustable KL Panel for high-quality soft light illumination since it first hit the market in 2020. Quickly adopted as an ideal full colour spectrum LED soft light, a new XL version of the broadcast-quality luminaire is now available that extends the size of the original while emitting nearly twice the power and offering multi-zone control for dynamic effects. More on page 5 Steve Richardson and Chauvet at Gibraltar Cave page: 23 AC-ET for Grimeborn Opera Festival 2021contents this month November 2021 page no. Features page : 4 page : 8 page : 10 page : 8 TECHNICAL STANDARDS FOR PLACES OF ENTERTAINMENT Revised in July 2020 Available now from www.etbooks.co.uk 21 Festspielhaus Baden-Baden Takes a Quantum Leap with Alcons A recently installed Alcons QR24 pro-ribbon system is reliably mastering the challenges of Festspielhaus in Baden-Baden concert hall. 22 Steve Richardson and Full Production Reflect Majesty of Gibraltar Cave with Chauvet Steve Richardson of Full Production was tasked with designing, installing and programming the lighting for “The Awakening,” an immersive show inside St. Michael’s Cave. 23 MLA Comes Alive for IDLES’ Loud Lunchtime Headline Spot at Brockwell Park Capital Sound provided sound reinforcement on the four main stages, with the principal three featuring Martin Audio MLA loudspeaker arrays. 24 Trinity Laban upgrades to EM Acoustics Trinity Laban turned to Autograph Sound who designed, implemented and commissioned an innovative multi-role sound system from EM Acoustics. 25 Hippotizer Amba drives visuals for Spring Awakening at CSS&D London’s The Royal Central School of Speech and Drama staged a production of Spring Awakening, which saw lighting and video design students using Hippotizer Amba media servers. 26 Sugar Coated Retail for Void Acoustics This unusual project is the first time Void Acoustics has supplied Kingdom of Sweets. 27 Crt Birsa Creates Flowing Design for MMS 2021 with ChamSys Working on his ChamSys MagicQ MQ70, Crt Birsa programmed a seven-universe show that accentuated the deepest elements of his collaborator’s set design. 12 AC-ET Provide Lighting Solutions for Grimeborn Opera Festival 2021 Chroma-Q, Vista by Chroma-Q and PROLIGHTS have once again taken to the stage with the Arcola Theatre for its recent production of the Opera, Die Valkure. 14 Britannia Row Returns to Creamfields with Winning Audio Ethos After two years away from Daresbury, Britannia Row Productions returned to ‘cinch presents Creamfields’ on the UK’s August Bank Holiday to provide sound solutions for the North Stage, the South Stage and the iconic 15,000-capacity Steel Yard. 15 Martin Dudley and ChamSys Captivate at Heaven 17 Roundhouse Show In September, Martin Dudley and collaborator Malcolm Garrett created the light show for Heaven 17’s shows at the City Hall in Sheffield and the iconic Roundhouse in London. Helping Dudley meet this challenge was his ChamSys MagicQ MQ80. 16 Caribbean Feel at Berlin’s Beach Chair Open Air Gentleman was the star guest at the Strandkorb Open Air series of concerts at Berlin’s Hoppegarten venue. Wired and wireless microphones and IEM solutions from the Sennheiser portfolio are ubiquitous at this and other concerts by Gentleman and his band. 18 Robe For Stunning Jesus Christ Superstar Production In September, an innovative and popular production of Jesus Christ Superstar was staged at Copenhagen’s Royal Arena. The lighting included an all Robe moving light rig comprising nearly 150 luminaires. 20 Unusual raises the curtain on multi million pound refurbishment at Theatre Royal Drury Lane Following three years of project management and two years of site attendance, Unusual Rigging has unveiled its role on the multi-million-pound refurbishment of Theatre Royal Drury Lane. from the editor direct from: www.etnow.com Entertainment Technology is published 12 times a year in conjunction with the leading industry portal www.etnow.com Editor: John Offord Technical Editor: Jackie Staines Published by: Entertainment Technology Press Ltd The Studio, High Green Great Shelford Cambridge CB22 5EG Telephone: +44 (0)1223 550805 Fax: +44 (0)1223 550806 Website: www.etnow.com email: editor@etnow.com © Entertainment Technology Press Ltd. Subscription Rates: Annual Subscription for 12 issues (UK): £27.50 Annual Subscription (overseas): £50.00 Subject to acceptance, subscription is free to UK based industry professionals. Subscribe online at: www.etnow.com/etmag/ Opinions expressed in Entertainment Technology are not necessarily those of the publishers. All rights are reserved and reproduction of any part in whatever form is prohibited without the prior permission of the publishers. etnow.com (entertainment technology news on web) is the industry portal site with news from around the world added daily under various sector headings coupled to an extensive archive. The site also features a books section where titles from Entertainment Technology Press can be ordered online via our secure Sage Pay credit card services. Issue: 345 ESTA’s TSP public reviews ESTA’s Technical Standards Programme currently has five draft standards in active public review. The reviews are open to anyone having a material interest in the subject matter. The review opportunities are as follows. The Event Safety Working Group has one draft standard in public review. BSR ES1.18 – 202x, Event Safety – Rigging provides minimum requirements and general guidelines for the suspension of equipment and materials that are utilised in the technical production of organised special events. It addresses the general requirements for design, planning, installation, set-up, removal and operation of rigging activities. These activities may be conducted using permanent or temporary structures, either in or out of doors. It does not cover permanently installed rigging systems, and it is not a tutorial or a list of specifications. Submit comments before 09 November 2021. The Photometrics Working Group has two draft standards, and one reaffirming standard, in public review. ANSI E1.55 – 2016, Standard for Theatrical Makeup Mirror Lighting offers recommendations and requirements for makeup mirror lighting in performer dressing rooms and similar locations. It defines a range of acceptable lamp CCTs and colour- rendering ratings, and also specifies illumination levels and lighting angles for illuminating the performer’s face while applying makeup. The existing standard is being considered for reaffirmation. Submit comments before 27 October 2021. BSR E1.69, Reporting the Dimming Performance of Entertainment Luminaires Using LED Sources describes a way of showing the end-user or equipment specifier the dimming performance of LED luminaires, when the luminaire output level is set by a control signal slowly varying from 100% to 50% and then from 50% to black-out. Submit comments before 01 December 2021 BSR E1.41, Recommendations for the Measurement of Entertainment Luminaires Utilising Solid State Light Sources is intended to be used for the presentation of photometric data for luminaires employing solid state light sources used in the entertainment and performance industries. This standard defines photometric data that may be presented on documents purporting to accurately describe the photometric performance of these luminaires when producing both white and coloured light. Submit comments before 15 December 2021. The Rigging Working Group has one draft standard in public review. BSR E1.22 – 202x, Fire Safety Curtain Systems covers the design, materials, fabrication, installation, operation, testing, and maintenance of fire safety curtain systems used for proscenium opening protection in theatres. Submit comments before14 December 2021. All of the pertinent documents associated with each of these public reviews can be found on the Technical Standard Programme’s Public Review Documents page at https://tsp.esta. org/tsp/documents/public_review_docs.php. ESTA announces yet another ANSI standard for event safety ESTA’s Technical Standards Programme has announced approval and publication of yet another ANSI-approved event safety standard, developed by the Event Safety Working Group. ANSI ES1.4-2021, Event Safety – Event Fire Safety Requirements applies to fire safety in the live event industry. This standard addresses the identification and assessment of event-specific fire risks, and the effects that fire and smoke will have to the life safety of all persons who might be affected. It includes those measures required to minimise the likelihood of a fire starting, means of escape (egress), fire safety monitoring and the methods used to limit the development, spread and effects of fire. The standard can be downloaded free of charge, from the Technical Standards Programme’s Published Documents page, found at https://tsp.esta.org/tsp/documents/published_ docs.phpNovember 2021 news 4 Brit Row Supports Rag’n’Bone Man at Team GB’s Homecoming Spectacular The National Lottery’s Team GB Homecoming staged at The SSE Arena, Wembley in August saw Britain’s Olympic athletes honoured by some of the biggest names in music and entertainment during two hours of dynamic storytelling, cutting-edge performances, and awe-inspiring big screen content from the Tokyo 2020 Olympic Games. With production led by Global Touring Office, the star-studded line up saw Rag’n’Bone Man (otherwise known as Rory Graham) open and close the event with a powerful audio control package supplied by Brit Row. “I think any show post-pandemic has a certain electric feel about it, but this one was another level,” says Rag’n’Bone Man’s FOH engineer, Rob Sadler. “To be part of the show welcoming back Team GB is a high accolade in anyone’s books, and the pre-show ambient noise of the crowd in the arena was welcoming to say the least.” Rag’n’Bone Man’s live sound has developed considerably for the new album cycle with the introduction of a bigger band and the absence of any backing tracks. “It’s a lot more rock ‘n’ roll,” continues Sadler. “Rory’s vocal is the show, so it’s my priority to make sure it sits on top of the mix. The choir and strings, which were mixed by the fantastic Davide Lombardi, add a completely different feel and emotion to the songs, very fitting for this occasion.” Sadler mixed on a DiGiCo SD10 with an XTA D2 Stereo Dynamic EQ, Bricasti M7, and Empirical Labs Distressor for artist vocals, a TC Electronic Reverb 4000 for drums and a Smart Research C2 compressor as a mix bus. “I’ve been using variations of this set up for the past four years,” he notes. “The SD10 does everything I need and sounds great. I’m really enjoying the Smart C2 at the moment. It gives the mix a final polish. “When we started this cycle, our monitor engineer, Jamie Tinsley, suggested adding triggers to the drums to use as key inputs on all the gates, which was obviously a throwback to his days as a teenage metal head! I thought it wasn’t necessary at first, but now I’m fully converted; I’d hate to do a gig without them.” Although Tinsley had plenty of inputs to look after with the artist, full band, brass, strings, and backing vocalists on stage, he was keen to express his gratitude for the relatively simple list of requirements the artist has. “Rory’s mix is actually quite traditional, in that I just need to give him time and pitch,” he says. “He likes the drums and bass quite loud, with the main piano sound upfront for pitching and a sprinkle of everything else panned around him and away from that precious centre channel. It’s all about creating lots of space for his vocals.” For low end consistency, Tinsley opted for a pair of d&b audiotechnik M2’s ‘low passed’ between 150-200hz, to which he sends only kick, bass, and low mid piano. “Desperate to simplify my gear this year, I started using a DiGiCo SD10,” he says. “The set- up is incredibly simple, with the intention of making it easy to replicate around the world for consistency. We also had 12 ways of Shure PSM1000 IEM, a couple of hardwires, a buttkicker, a shaker plate, and side fill subs, with the only ‘spice’ factor being the two Empirical Labs FATSOs.” After listening to the single ‘All You Ever Wanted’, the event’s musical director wanted to saturate the floor and snare microphones in order to get closer to the sound used on the recording. “It sounded cool, so we left it in for the rest of the set,” remarks Tinsley. “I sent the snare into channel one of the FATSO, destroyed it, then linked out into channel two. I do the same for the floor tom through the second unit and blend in under the direct mics. It worked really well, especially when using the drum triggers to gate them.” On another successful outing for the UK’s premier rock ‘n’ soul singer, Sadler concludes with a nod to Brit Row’s service: “From initial emails through to production rehearsals and being on the road, Brit Row have been great. Nothing is ever an issue, the audio package is perfect, and our audio tech Josh Graham is world class. He made sure everything we were doing would work in sync with the show’s in-house audio system. It couldn’t have gone better. LED Limited appointments Nick Terrell Ashford-based Lighting Effects Distribution Ltd. (LED Limited) has announced the appointment of Nick Terrell as Senior Sales Associate. Over the years, LED Limited has managed to secure an impressive portfolio of products covering many areas of the lighting industry in order to offer a wide variety of choice with cutting edge, innovative designs. With over 25 years of experience in professional lighting, Nick says: “The chance to be involved with a high-profile distributor and manufacturer with superb range of professional lights is a dream come true.” “We are very excited to welcome Nick to our team,” states LED Limited CEO, Ian Kirby. “This is the third time we have worked together. The first time was at Roger Squires London back in the late 80s, then in 1998 Nick joined the team I was managing at Martin Professional UK, so it’s great to be working with him again in a similar role. Nick joins other old Martin colleagues here such as Clive Bailey and Stuart Thompson. Nick is renowned in the industry as being very customer focused, something that very much aligns with our values at LED Limited,” adds Ian. “To have that chance to be involved with lighting that will be talked about by the general public on high profile installations is what every lighting employee wants,” comments Nick. Nonetheless, it’s not only Nick’s understanding of lighting that makes him a great addition, but also his expertise in the field of customer experience. “Being involved in delivery process of something that makes a lasting impact is very important to me because it motivates me to give my very best on the job. Customers might not be aware of all the work going on behind the scenes, but I want my ethos to apply to every call or enquiry I take. I want us to be at the forefront of any customer’s mind when it comes to lighting specs and, at the same time, for customers to be able to completely trust their order with us,” emphasises Nick.Issue: 345 news 5 KL Panel XL: Full colour spectrum LED soft light with muscle and multi-zone control Broadcast designers of all types have been turning to Elation’s colour temperature-adjustable KL Panel for high-quality soft light illumination since it first hit the market in 2020. Quickly adopted as an ideal full colour spectrum LED soft light, a new XL version of the broadcast-quality luminaire is now available that extends the size of the original while emitting nearly twice the power and offering multi-zone control for dynamic effects. Broadcast environments require bright and highly variable lighting of very high quality for key-, fill- and backlight. The new KL Panel XL LED soft light delivers with superior output, precise colour temperature control, full-spectrum colour rendering and an even wash coverage. Optimised for the tuneable white light requirements of film and television, it is an ideal soft light source for many situations requiring outstanding performance and colour quality. Using a highly-efficient 544W RGBW+ lime + cyan LED Array, the KL Panel XL produces beautifully soft white or full colour washes up to 44,000 field lumens at a 100° half-peak angle. Colour reproduction is extremely accurate both to the eye and to the camera with a CRI of 95 while colour temperature is easily adjustable from 2,000 to 10,000K for a wide choice of variable colour or white shade projections. Additional colour tuning is possible through a green- shift adjustment and virtual gel library to more precisely match the white balance for the camera. The KL Panel XL’s LED array includes multi-zone control for dynamic colour access, visually interesting eye-candy and realistic reproduction of effects like fire, lightning, emergency vehicle flashes or a variety of strobe effects. Besides its wide spectrum of chromatic options, this dynamic soft light luminaire includes other useful design features like smooth 16-bit dimming and selectable dimming curve modes for programming ease, as well as a high-speed electronic shutter and strobe. Measuring 30.1 in/763.8 mm (L) x 12.05 in/306mm (H), a 4x2-section control option provides additional creative capabilities for color effects and visual impact. A diffuser is included for even softer projections as are adjustable and removable eight-leaf barndoors that allow for customised shaping of the beam and less light spill. Virtually silent, the KL Panel XL is fully optimised for broadcast and film environments with 900- 25000Hz LED refresh rate adjustment for flicker free operation. Compact and portable, it can be mounted on a stand or suspended using any standard clamp or the included Junior pin adapter. A rugged housing with impact-resistant surrounds and base plate ensure that the fixture can handle rough handling on today’s fast-paced sets. The KL Panel XL is fully self-contained without the need for an external power supply and offers power pass through for easy linking of multiple units. The fixture can be powered remotely through its integrated 4-pin XLR 24-36 VDC battery input (battery not included). Professional control options include DMX/RDM, Art-NET and sACN. It can also be controlled manually for stand-alone use using the included encoders and OLED display, providing instant control of intensity, colour temperature, green shift and other settings. The display and encoders are conveniently positioned on the bottom of the fixture to ensure easy access while the fixture is mounted on a stand. The integration of Elation’s E-FLY wireless DMX system allows for even more flexibility of use. The KL Panel XL is energy efficient for such a bright soft light, consuming 544W of maximum power, and offers other benefits of LED like greater reliability, a long LED life rating and less maintenance for a lower cost of ownership. www.elationlighting.com Infinity and Showtec perform at outdoor summer festival Infinity Furion S401 Spots, iW-1915 RGBW wash moving heads and Showtec Helix S5000 Q4 RGBW LED wash fixtures were successfully deployed at beautiful outside locations during a summer festival in the Algarve in the southern region of Portugal. The fixtures were perfectly capable of complying to the specific intentions of the operators and supported the performers wonderfully. Geopalcos is a biannual event that aims to connect art, science and nature in the Geopark territory in the south of Portugal (the Algarve). Artists and scientists are challenged to combine their skills and expertise, and take nature lovers to discover art and science, lead art aficionados through nature and the paths of knowledge, and have the audience relate to their knowledge with the natural and artificially created beauties of their surroundings. On ten occasions between 29 May and 12 September 2021, at different locations, the public is invited to participate in dialogues between tradition and creativity/ innovation, to wander and (re)discover Portuguese society, gastronomy and territory, and to take part in several initiatives: performances, interactive installations, sensorial pathways and experiences, concerts, exhibitions, disciplinary crossings, theatrical creations, debates, workshops and more. In order to accentuate the intentions of the festival, Highlite’s Portuguese distributor Lagotronics had supplied six of Infinity’s high-end Furion S401 Spots, eight Infinity iW-1915 RGBW wash moving heads and eight Showtec Helix S5000 Q4 RGBW Outdoor LED Wash fixtures to Nuno Lourenço from audiovisual supplier Stageteam in Messines de Baixo. On 26 June, at the beautiful, outside location of Pedreira de Grés, in Vale Fuzeiros, artists Vítor Bacalhau, Ricardo Martins and the students of the Escola Secundária de Silves performed in “Fado & Blues – o casamento na Pedreira” (the wedding at Pedreira), a show where American Blues and Country met Fado and traditional Portuguese music, as an invitation to the public to indulge in art, science and nature. The lighting equipment was set up to highlight the natural beauty of the environment and to create an appropriate ambiance for the artists during their performance. The full and vivid colours of the fixtures succeeded to create an even deeper experience of immersion for audience and performers alike. grandMA3 software release 1.6.: Numerous workflow improvements and new implementations grandMA3 software release 1.6: Numerous workflow improvements and new implementations. MA Lighting has now released the grandMA3 software version 1.6. This release brings massive improvements in the area of presets and data handling: • Intuitive programming with selective, global and universal presets • Auto preset mode takes care of standard preset operations without thinking about data • Fixture exchange transfers the preset data – important for touring and festival shows • Universal presets can be created even before patching fixtures In addition, there are many workflow improvements. Additional information for show files has been added to the backup menu and the Stomp command has been revised based on numerous user feedbacks. The new version also includes visibility and overview improvements, especially for grandMA3 onPC users. The new command wing bar fits perfectly at the bottom of screens used together with a grandMA3 onPC command wing or grandMA3 onPC command wing XT. In addition, there are also some new implementations that will enrich lighting control in many different areas: • Markers – move and rotate objects in 3D, even with connection to PSN data • CleanUp command – delete objects which are not used in the show file • New RDM parameters and notifications • Support of RDM proxy devices – especially useful for installations For full story see www.etnow.com/ equipment newsNovember 2021 news 6 MLA Folds Back the Years at Rewind Festival Although this year Rewind Scotland had to be cancelled, the events at Capesthorne Hall, Macclesfield (Rewind North) and Temple Island Meadows, outside Henley (Rewind South) went ahead within a month of each other. The event is now back under the management of David Heartfield, whose leisure group Impresario Festivals had previously sold the brand to radio group Global back in 2017. The events’ long-term sound suppliers, Capital Sound was in action at both sites, and with the exception of an additional delay tower at Rewind South, fielded identical Martin Audio MLA PA rigs. Once again, they worked alongside production manager Keith Morris, of Riverside Productions, as they have on many previous occasions. Set on the banks of the Thames, the 40,000 capacity Rewind South featured an all-star line-up of 80s pop icons, with Jimmy Somerville’s Big Band-tastic Boogie and Wet Wet Wet headlining. Other artists performing include Marc Almond, Bananarama, Billy Ocean, Hue & Cry, The Christians, Cutting Crew, Go West and Katrina. Roland Gift, Limahl, Pete Wylie, Soul II Soul, Aswad, Nik Kershaw, Grandmaster Flash and John Parr. Capital fielded a highly experienced technical team, with Mike ‘Bunny’ Warren as FOH engineer and supervisor, mixing the largest section of the show, with Toby Donovan as system technician. The site itself is flat and open, fanning out at the rear, where an arc of three delay towers at the 65-metre point provided coverage. For the main PA Capital fielded 15 MLA array elements above a single MLD downfill box on each side, with eight MLA Compact enclosures, at stage left and right, for outfills. For front fills they provided an additional 12 WPS (Wavefront Precision) line array elements. Handling the low-end frequencies were 19 MLX subwoofers in broadside cardioid, set in a castellated pattern across the front. This provided a lot more controllability, according to Capital project manager, Martin Connolly. “It removes the amount of sub energy bleeding back onto the stage, which is particularly off-putting for those wearing in-ears.” Finally, audiences watching near the back behind the mix tower, were treated to perfect audio from the delay arc, each tower comprising five further MLA and a single MLD downfill. According to Capital, the Martin Audio rig proved popular with the guest engineers. One in particular was Aswad’s FOH man, Chris Cowlin. “As usual the MLA at Rewind South was simply one of the clearest systems I have ever worked on,” he enthused, “seemingly infinite headroom for the show and so much sub, while the highs and mids just effortlessly responded and brought the mix to the forefront. “The coverage of the system was seamless, and I didn’t have to apply any system EQ, so whoever set this system up is definitely at the top of their game. I don’t get to mix on MLA too many times in a year but when I do, it’s always an easy and very fulfilling gig.” Kulturhaus Karlstorbahnhof build a new home with Allen & Heath The German Cultural Centre Kulturhaus Karlstorbahnhof e.V. has resided on the eastern edge of Heidelberg’s Old Town since 1995 and, in addition to the almost 600-seat concert hall and Klub K nightclub, offers space for the association’s culture cafe, free theatre, Eine-Welt-Zentrum (One World Centre), media forum and communal cinema. In 2017, the decision was made to relocate the Karlstorbahnhof with a new venue pencilled to open in late 2022, on the site of the former Campbell Barracks in Heidelberg’s Südstadt. During the relocation planning phase, the city of Heidelberg granted funds for the technical modernisation of the building, with some of these funds allocated for a new audio mixing system for the centre. Christoph Hack, technical director of the Karlstorbahnhof, opted for an Allen & Heath Avantis console and a GX4816 audio expander, which will be used for the outdoor summer stage and the hall, while the venue is still in operation. “I’ve been enthusiastic about Allen & Heath since my first encounter with the SQ-6,” explains Hack, “so it was clear to me that we would rely on their consoles from now on.” Östringen based Session Pro were tasked with supplying and installing the system, and in addition to the Avantis and the GX4816, all components for the set-up at the new location are already ordered. “After the move, the FOH console will be an Allen & Heath dLive S3000 console,” Hack says. “The Avantis will then be used as a monitor console and mobile desk for the foyer. A DM32 MixRack will be permanently installed in the technical room. Four DX168 expanders will be on stage, two DX164-W expanders will be fixed to the front of the stage, and all connected to the DM32 via a DX Hub.” Utilising Dante expansion cards in both consoles, Hack will provide a digital split between FOH and monitors, distribute signals around the building and offer a multitrack recording solution. The theatre will be equipped with an Allen & Heath SQ-5 in the new hall, and here too a Dante expansion card will distribute signals to the other venues in the house. “We can also draw further added value from the Dante cards, as we can integrate our Wireless Systems directly into the dLive system and monitor them there,” Hack concludes. Allen & Heath’s Avantis is currently in use for outdoor performances at the centre, before moving to MON duties when the new building is completed in 2022. Martin Audio Updates VU-NET Support for TORUS and Introduces Q-SYS Control for iKON Amplifiers Martin Audio has announced the latest release of its control software VU-NET (2.2.2), which alongside new firmware for iKON amplifiers, implements new features. Firstly, preset support has been added for Martin Audio’s award-winning constant curvature loudspeaker, TORUS T12, including when it is also used in conjunction with its partner cardioid subwoofer, SXC118. Secondly, Martin Audio iKON amplifiers can now be added to the Q-SYS ecosystem within the Q-SYS Designer software. Features can be controlled from the software, Q-SYS compatible UCIs and GPIO logic ports integrated into Q-SYS cores and peripherals. These control features include gain and muting, sleep and standby and alarm notifications, as well as amplifier snapshot recall. Dom Harter, managing director, commented: “The much higher than forecast demand for TORUS has taken us a bit by surprise so we are delighted to release the latest version of VU-NET to enable deployment of the product for installation and live sound. Similarly, we’ve had a number of requests from system integrators to have iKON amplifier compatibility with the Q-SYS eco-system and so with this latest firmware support there are even more tools available to enable our customers to maximise sales within our portfolio.” To download VU-NET software and iKON firmware and Q-SYS plug-in please visit: https://martin-audio.com/support/ softwareIssue: 345 news 7 White Light sets the scene for Shakespearean classic under the stars at Kew Gardens As part of this summer’s Theatre on Kew programme, The Australian Shakespeare Company staged an open-air production of A Midsummer Night’s Dream within the uniquely botanical surroundings of Kew Gardens. As an approved supplier at the venue, with an industry-leading reputation for supplying theatre shows, White Light (WL) was chosen to provide all lighting and audio equipment for the project. Each performance during the four-week run began at twilight, to take full advantage of staging the Shakespearean favourite beneath the stars and canopy of Kew Gardens’ heritage trees. To enhance the play’s woodland setting and achieve lighting designer Peter Amesbury’s vision, WL specified a range of different lighting fixtures, all controlled by the HES Road Hog 4 console. The rig included Elation SIXPAR 200IPs and Chauvet Ovation E-910FC IPs, as well as SGM G-Spot Turbos. Look Solutions Unique hazers were utilised, to add to the sense of magic in the air. WL’s key account manager Dominic Yates comments: “Given the alfresco set-up for the performances, our entire rig had to be fully IP-rated. There were different visual elements to focus on, from the players on stage, to the surrounding trees, which we wanted to appear larger than life to heighten the drama. To work around the ambient sounds of the gardens, we supplied a robust audio solution, which provided evenly distributed coverage regardless of where the audience were seated.” Amesbury adds: “We were so impressed with the quality of the solution and service delivered by WL. The SGM G-spots were a real powerhouse fixture for the show, providing gobos and heightening most of the dramatic moments. This was the first time I’ve designed a show with LED Profiles outdoors and the Chauvet E-910FC has been rock solid. 24 of them provide a heap of punch, even from 25m away. This show would normally have 36 VNSP parcans FOH, however using the IP rated profiles, we have saved on dimmers and also cut maintenance time by nearly 60 per cent.” KLOTZ – Professional microphone cable drums The M1 cable drums are the perfect solution for live events. Compact in size and light in weight, the 50m version weighs just 5kg! The cable drum is made of break-proof plastic and is equipped with a locking brake. The XLR male cable end is available on the outside of the reel core in sufficient length and both cable ends are provided with transparent shrink tubes for free labelling. While the M1X cable drum uses black chromed XLR plugs with protective caps, the M1D cable drum uses heavy duty full metal XLR plugs that are IP65 rated. KLOTZ uses the well-known and proven MY206 microphone cable with a conductor cross-section of 0.22mm2 and black PVC outer jacket, which is super-flexible yet resistant to large temperature fluctuations. The dense copper spiral shielding ensures reliable shielding with maximum flexibility of the cable and has undergone a six-fold KLOTZ quality control conforming to ISO 9001:2015.November 2021 news 8 TiMax Tosca spatialisation entrances Puccini purists Staged in the elegant courtyard of the Palazzo Farnese in Piacenza, the flagship performance of this year’s Notte d’Opera a Palazzo was a stirring representation of Puccini’s Tosca. The natural acoustics of the 16th century architecture were lifted powerfully yet naturally by the immersive prowess of TiMax spatial audio processing. Complementing TiMax’s sympathetic spatial amplification and to ensure complete audience immersion, impressive virtual scenography was video-mapped onto the imposing façade of the building. TiMax afficionado, Federico Bianchi, designed the multichannel d&b sound system, drove the TiMax SoundHub processor and mixed the show on a Digico console. With social- distancing maximised to ensure a covid-safe environment for performers, musicians and the audience, positioning of the distributed loudspeaker system was inevitably challenged by an unconventional stage set up. This led to comparatively irregular speaker positions which TiMax nevertheless stitched together into a seamless, object-based, immersive soundfield. Whilst Bianchi concedes that covering the wide audience area was the biggest difficulty, the onstage spacing was also challenging to the sound design. A 55-piece orchestra was positioned in front of the opera performers on the main stage, whilst a large choir was positioned to the side. Bianchi said: “The non-traditional, wide spacing of the three musical sources forced me to find solutions to keep each element blended and in perfect timing each other. It would have been impossible without TiMax to guarantee localisation and intelligibility for everyone in the venue.” The on site set up took no time at all thanks to the TiMax PanSpace automatic Calculate feature. Bianchi was able to pre-design the system offline, plotting the speaker system topology and locations in PanSpace, then rendering the stage and surround spatial mappings at the push of a button. He states: “In a few seconds on-site, I found myself with an already excellent setup before I’d even started soundcheck!” The main system comprised five d&b point-source speakers distributed to cover the width of the stage, assisted by five front fills and four sub bass units. Three delay speakers provided supporting spatial reinforcement for the last rows. A further four anchor speakers were added to the front stage truss between the opera singers on the main stage and the orchestra to augment the on-stage voices and their precise localisation. To subtly enhance the immersive mix as well as to create environmental spatial reverb, eight surround speakers were positioned at the sides and rear of the audience. It is notable that the use of amplification was originally resisted by the producers for fear of it creating an unnatural-sounding performance, but ultimately the authentic and transparent localisation and immersion created by Federico Bianchi’s TiMax spatial mix met with everyone’s full approval. Sound Devices Joins Audiotonix Group Audiotonix, the group which comprises the Allen & Heath, Calrec, DiGiCo, DiGiGrid, Group One Limited, KLANG:technologies and Solid State Logic entertainment technology brands, has announced the acquisition of US-based Sound Devices LLC as part of its expanding group. The transaction, which was concluded on 14th October 2021, further extends the Audiotonix professional solutions for audio production environments. James Gordon CEO of Audiotonix comments: “The addition of Sound Devices and their fantastic team to our portfolio of premium audio brands is a proud moment for all involved. Their expertise and technical pedigree in film production, broadcasting and professional recording is a great fit. As with previous acquisitions we always look to increase the knowledge share group-wide and, with FPGA-based solutions and RF wireless technology at their core, we have an enviable opportunity.” The acquisition will coincide with co-founder Jon Tatooles departure from Sound Devices after 23 years. Co-founder Matt Anderson, who has been chief engineer of Sound Devices since inception and CEO since 2013, will continue to serve in both roles. Matt Anderson states: “I’ve enjoyed getting to know James and the team during the past few months. In terms of values and culture, Sound Devices fits perfectly within the Audiotonix group of companies. In a way, it will be ‘business as usual’ at Sound Devices, as we will carry on doing the same thing we've been doing for the past 23 years: focusing intensely on making the best sound products we can. However, the Audiotonix group brings us more strength in terms of access to capital, depth in manufacturing, knowledge in engineering, sourcing of parts, and expanding our sales and marketing expertise. I am extremely excited about this new opportunity.” Jon Tatooles adds: “It has been incredible to build Sound Devices over the last 23 years into the organization it is today. I am very excited about the next chapter for the company, and I leave it in great hands. Audiotonix is a great organization who will build on the success we have achieved. I don’t believe there is a better partner.” In picture: Jon Tatooles, James Gordon and Matt Anderson. New and Improved Neve Recall Software is Now Available to Download Free of Charge New and Improved Neve Recall Software is Now Available to Download Free of Charge With more and more recording professionals adopting a hybrid approach to their workflows, having the ability to switch seamlessly between mixing sessions in the studio has never been so important. Integrating analogue hardware into this fast-paced environment can be tricky and, more significantly, time-consuming. In recognition of this, Neve has launched an updated version of its Recall software, which provides an interactive platform that delivers total recall of all hardware settings and enhances the capabilities of Neve-88 series hardware units and the 2254/R compressor/limiter. This modern, sleek software programme gives producers and engineers control of up to 16 Neve analogue outboard units from a connected computer. The settings for each unit can be stored and quickly recalled, allowing users to take full advantage of every feature offered by their Neve analogue outboard gear. Neve’s highly versatile Recall software runs on a Mac or a PC, with hardware units connected to the computer via USB or through a powered USB hub. Once they are connected, the Recall software automatically finds them and provides an interactive and easy to use software platform that makes it very simple to control, save and recall all hardware settings. Neve units that can be controlled via Recall software include the 8801 Channel Strip, the 8803 dual EQ, the 8804 fader pack, the 8816 summing mixer and the 2254/R limiter/compressor. As well as offering unlimited recall of all switch settings, rotary pot and fader positions, Neve’s upgraded software also provides a stereo matching function for the 8803 dual EQ (a must-have feature for master bus processing), an on-screen drag-and-drop audio processing matrix for the 8801 channel strip, and a host of direct output routing options for the 8804 fader pack and 8816 summing mixer. Recording professionals can download Neve Recall software, free of charge, from the Neve website – www.neve.com – via the product page for each unit included in the above list.news 9 Issue: 345 Summer Night Concert returns with Vienna Philharmonic and over 250 GLP moving lights Every summer since 2004, the world-famous Vienna Philharmonic has presented a large open-air concert in the park at Schönbrunn Palace. And an indispensable part of the staging for some years now has been the impression S350 series from GLP. After the concert had to be postponed until the autumn last year due to the pandemic, the Philharmonic and the ORF, the national broadcaster whose television images are broadcast in almost 80 countries worldwide, returned to a June date for 2021. On 18 June, the 18th Summer Night Concert (Sommernachtskonzert), under the musical direction of Daniel Harding, was dedicated to selected pieces of music on the subject of ‘wanderlust’. As only 3,000 spectators were permitted to attend this year, the ORF television coverage played a particularly important role. With 16 cameras and impressive drone perspectives set up, the ORF strove to bring the global television audience very close to the action. Jerry Appelt, who was appointed for the fourth consecutive year as lighting designer and DoP, says the concert is a project really close to his heart. “In fact, the Summer Night Concert is one of the highlights of the year in my calendar,” he states. “It’s a project I look forward to far in advance. Everything just fits here: the co-operation with the organisers, the ORF and the Philharmonic is excellent and characterised by great trust. We are all incredibly happy and grateful that we can continue the tradition in the second year of the pandemic. Despite operating with a significantly reduced audience, it could still be seen on television by millions of people.” The lighting of this event is nothing less than demanding; after all, it’s not just about lighting the orchestra in a way that is suitable for cameras. The castle façade itself and the huge castle park need to be illuminated up to the Neptune Fountain and integrated into the show. The triumphal arch of the Gloriette, situated about 2km away, is the icing on the cake of the design. When it comes to the stage lighting, Appelt no longer has need to experiment. For a number of years now, large numbers of GLP impression S350 Wash and Spot lights have placed the orchestra in the right and, above all, camera-compatible light. By deploying 71 impression S350 Wash, the designer was effortlessly able to meet the high demands of the TV crew for white light on stage: “I learned to appreciate the S350 a long time ago and now I use it again and again. Both models, the Spot and Wash, are modern, flexible solutions for all areas that would previously have been covered with Fresnel lenses and profile spotlights. Thanks to the high CRI of +90, the ORF is always enthusiastic about the image technology. For me, there is no question of using alternative solutions at present.” On the stage and around the Castle façade, 115 impression X4 L, 16 Highlander Wash and FUSION FP7 Par spotlights were also used. As an alternative to the impression X4 atom, which he has used previously, the designer turned to 52 GLP impression FR1s for the first time this year. He used this to focus in the direction of the camera and partially for decorative lighting. “I have recently been using the FR1 more and more. Not only are they very compact and discreet, they also deliver very good, variable white light and convincing colours,” concludes Appelt. “This ensures creative freedom, which I particularly welcome at traditional events such as the Summer Night Concert.” photo: Manfred NikitserNext >