< PreviousMarch 2023 news 10 NEXT-proaudio unveils medium- format line array Portuguese manufacturer NEXT-proaudio has unveiled the LA210x, a medium format three-way, coaxial, active line array element designed to support a wide range of mid to large-sized touring applications and installations where easy to use, from transportation to installation and rigging are critical. Built-in powerful DSP and amplification eliminates amplifier racks, long loudspeaker cables, and basic system calibration. Custom made European transducers and a maximally optimised acoustic design provide excellent sound fidelity at very high SPL levels. The LA210x features dual 10-inch (3-inch voice coil) neodymium woofers and a ground-breaking coaxial ring radiator loaded by an exclusively developed OSWG waveguide. This acoustic design delivers exceptional phase coherence and consistent coverage down to 300Hz and the most accurate transient reproduction. Onboard, advanced, powerful 96kHz/40bit SHARC DSP engine, monitored by built-in LCD screen with a preset loading encoder, can be remotely monitored and controlled through Ethernet by a PC. The full-featured PC-software automatically identifies each device and allows simultaneous control of multiple devices through grouping facility. Everything you need to fine-tune the sound of your system is right there. Engineered for both touring and installation the system is driven by a passively cooled 2000W three-way ultra-efficient Class-D amplifier module releasing 1000W for LF section, 500W for MF section and 500W for the HF section. Integrated universal mains power supply with PFC provides consistency and optimum performance anywhere in the world. The three-point rigging system allows for quick and easy system set up. The LA210X elements are easily connected via two front links. A rear centre link allows the user to define relative splay angles from 1° to 10°. The system will automatically lock to the predefined angles when lifting the array. ISCVEx 2023 returns to Coombe Abbey Hotel for March 2023 The Institute of Sound, Communications and Visual Engineers (ISCVE) has announced the return of its annual seminar and exhibition event, ISCVEx 2023. Taking place on Tuesday and Wednesday 21-22 March 2023 at the beautiful Coombe Abbey Hotel near Coventry, the event is open to the public and members of the ISCVE and incorporates ISCVE’s Members’ Day and Networking Dinner on Tuesday 21st March and three seminars and an exhibition on Wednesday 22 March. The AGM and Members’ Day, features a presentation this year from Alex Krasnic BEng(Hons) MSc FIOA MInstSVCE, where he will be discussing lessons learned over his 20 plus year career for the installed sound/AV industry when engaging with Architects on projects. In the evening, ISCVE is hosting a Networking Dinner and party before the next day’s events, featuring an engaging seminar programme with three key presentations from leading industry figures running alongside a unique exhibition, with 30 plus industry manufacturers and distributors eager to share their latest news with visitors. “Last year’s ISCVEx, the first post-Covid, was a brilliant event and we hope to build upon it this year with a friendly, engaging atmosphere between visitors, presenters and exhibitors,” comments ISCVE president Neil Voce MInstSCVE, “this year’s ISCVEx promises to be another well-attended event and for some of our newest members, it is an opportunity to meet fellow members for the very first time in the relaxed and informal environment that ISCVEx is renowned for.” For further information and to register to visit https://iscve.org.uk/iscvex/iscvex-2023/ Allen & Heath Appoint Tamas Vass as Sales Director EMEA Reporting to sales director Markus Sinsel, Vass will be based in central Europe, supporting Allen & Heath’s EMEA distribution partners, working closely with them to develop sales opportunities across multiple market verticals. Having spent much of his long-spanning career in the video and broadcast sectors, Vass has unique skills in business development, experience in managing large and complex sales projects and a proven track record in EMEA sales growth. Allen & Heath is excited to have Vass join the team. “Tamas brings a wealth of sales experience and fresh ideas from his previous roles as well as a true passion for audio which makes him the perfect fit for this role,” comments Markus Sinsel, Allen & Heath’s sales director. “He will help to further grow our EMEA presence as well as develop new markets with our partners in key regions like Scandinavia, Benelux, Africa and the Middle East.” “I am super excited to join Allen & Heath and I’m looking forward to contributing my knowledge and experience to the success and growth of the company,” says Vass. “Audio is one of my passions, so I have always kept a keen eye on the sector. I am so pleased to be able to join Allen & Heath; a fantastic company with a talented team and awesome products. What else could I wish for!” Funktion-One launches a new generation of Compact Range speakers Loudspeaker manufacturer Funktion-One has introduced a new generation of Compact Range speakers at ISE 2023 in Barcelona. Enhancements in high frequency driver technology and new porting techniques have led to a collection of outstanding compact loudspeakers that carry Funktion- One’s unmistakable sonic signature. This collection includes the F5.2, F81.2, F101.2 and F1201.2 mid/high speakers, plus the self-powered SB8A and SB10A compact bass speakers. In addition to the advancements in audio performance, the new Compact Range features both Phoenix and NL4 connectors as standard. All existing installation accessories, except for the F1201.2 wall bracket, are compatible with the new versions. The redevelopment of the Compact Range began when the world locked down in 2020. Funktion-One founder Tony Andrews recalls: “It was clear there wouldn’t be any big shows for a while, so the logical thing to do was to focus on our smaller products. This gave us an uninterrupted period of R&D, from which emerged a new high frequency driver and flared porting techniques. The Funktion-One sonic signature comes from lively, highly efficient loudspeakers, which has both performance and ecological benefits.” Funktion-One acoustic design engineer James Hipperson adds: “We’ve kept to the same design philosophy of not trying to force a small speaker to do bass and focusing on the mid-range. To achieve a full range system, we have developed complementary self-powered, compact bass speakers. This gives us our signature Funktion-One mid-range clarity and definition, along with engaging low frequencies.” Funktion-One’s new generation of Compact Range speakers are available to order now through the loudspeaker manufacturer’s global network of distributors and dealers.Issue: 361 news 11 NEXT Audiocom introduces FLEXI15 Portuguese manufacturer NEXT Audiocom is presenting the FLEXI15, a 2000W active 2.1 compact PA system with an integrated DSP processing engine that forms a precisely matched, compact system with professional acoustic properties required by DJs and musicians for both portable use or permanent installation. “The system was designed for a fast and flexible on-site setup, and maximum reliability with a modern design and a handling optimisation,” said Tiago Correia from NEXT Audiogroup R&D department. The 15” reflex loaded subwoofer provides powerful accurate bass sound while the satellites with 8” mid drivers and 1” HF drivers are responsible for natural sounding mids and crystal-clear highs. To easily expand the system it is possible to link two or more FLEXi 15, simply connecting both systems using a XLR cable (solid line). The system’s presets are selected by simply rotating the encoder, instantly optimising the system sound for the required configuration. The presets apply precise DSP sound adjustment settings automatically, eliminating the need for additional hardware, software and, most importantly, time. The FLEXI15 active PA system features sturdy plywood cabinets, all-important protection circuits, XLR/jack combo, Speakon-compatible connectors, and ergonomically shaped, recessed handles. A scratch-resistant polyurea surface, steel grille, and flanged edges complete the look. Subwoofer with pole mount for satellite speaker, four castors, two with locking brakes. Two speaker cables are included in the delivery. Speaker protective covers, matching speaker stands, spacer tubes and wall mount brackets are also available separately. The New Chauvet Professional Ovation E-2 FC is Compact, Convenient and Colourful Inspired designs come in all sizes. Now, so too, do fully featured LED ellipsoidal spotlights that can help turn those visions into reality, thanks to the new Ovation E-2 FC from Chauvet Professional. With an RGBAL engine that delivers richly textured colours and smooth, even whites (it has a CRI of 93), plus an integrated 25-50 degree zoom lens, the Ovation E-2 FC delivers the kind of performance associated with larger fixtures, but in a compact body that makes it ideally suited for small and mid-sized applications. Weighing in at under 15lbs and measuring 461 x 310 x 445mm, the tidy but powerful fixture puts out 1107 lux at five metres when used at its narrowest and 488 lux at five metres when used at its widest beam angle. The Ovation E-2 FC features advanced optics, which means that in addition to rendering beautiful colours, it projects sharp, crisp gobos that add depth to any design. A convenient dedicated focus mode button allows one-touch focusing without the aid of a board operator. A virtual colour wheel and preset white CCTs added to the conveniences offered by this versatile fixtures, which can be controlled via DMX or RDM. Other features in this ultra-quiet fixture include selectable PWM, +/- green adjustment and emulated red-shift, a built-in gobo slot, electronic dimming, and USB ports for software updates. Thanks to these and other features, the Ovation E-2 FC is taking broader design options to more places than ever. Showtec and Infinity light up IFELOR opening IFELOR is a large, new trade fair and conference centre recently opened in Lorca, a city in the region of Murcia in the south-east of Spain. The new building includes the Margarita Lozano auditorium, which benefits from lighting by Showtec and Infinity thanks to supplier Soniles Technology. Industrias Maquiescenic (Retom) took care of the installation. The official opening of IFELOR took place on 30th December 2022 with a sold-out performance in the auditorium by the 70-strong, Film Symphony Orchestra who played their show ‘Krypton’. Many important figures attended the opening including the mayor of Lorca, Diego José Mateos, who stressed the new building’s importance to the local economy. A total of 14,823 square metres containing three exhibition halls, three conference halls, an auditorium and a large terrace make the venue suitable for all sorts of events. For the Margarita Lozano auditorium, Soniles Technology supplied a total of 220 pieces of lighting equipment by Showtec and Infinity. Showtec products included 42 Performer 1500 Fresnel, 28 Performer Profile 650 Q5, 12 Performer 2500 Fresnel, 28 Zoom Lens, 54 barndoors and 20 glass gobo holders. Infinity products included 12 TFLD-7 Floodlight, 12 TS-300 Profile Engine and 12 TLT-1535 15-35° zoom. All of the lights were installed by Industrias Maquiescenic (Retom) to ensure that IFELOR’s inaugural event got off to a flying start with impressive music and lighting. PRG UK relocates to new office space in central London Production Resource Group, the largest provider of live event technology in the world, has announced the relocation of its London offices to a new space within the historic heart of the city’s West End. Less than a five-minute walk from Piccadilly Circus tube station, PRG Golden Square offers its staff and clients 24/7 access to a light and airy, modern and private office and meeting space within an 18th century Georgian terrace managed by Boutique.co. The property is based in the centre of Soho, one of the busiest and most vibrant areas of the city centre, while also offering a shared break out space and café facility for all staff. As part of PRG’s membership with Boutique.co, its colleagues and clients can also enjoy flexible working spaces across the group’s network of offices in London and Birmingham, providing accessibility to several workspaces within its key locations in the UK. On the recent move for PRG UK, CEO Richard Williams said: “By adding PRG Golden Square to our portfolio of locations in the UK, we are pleased to maintain our strong and steadfast presence in London while updating our facilities to what our teams need in this new post-COVID era. This new space gives our staff and clients a comfortable, flexible, and convenient place to work together, and we are looking forward to welcoming them through our doors.”March 2023 12 features Audiologic works with ABC AV to deliver a futuristic experience at The National Space Centre Audiologic announces its work with ABC AV to launch a new permanent space themed immersive experience at The National Space Centre. Prepared to launch on a low Earth orbit cruise with Tetrastar Spaceport, visitors accidentally find themselves on a rescue mission to Mars. The team must work together to retrieve important research, survive disaster and escape back to Earth. Tetrastar Spaceport combines immersive theatre, actors, realistic set design, projection mapping, spatial audio, real- time interactive content, motion seats and hands-on interactives with immersive storytelling. The 300m 2 experience plays out across four main zones with ten additional themed spaces allowing four concurrent pulses of 20 person groups. Eleven projectors, 47 screens, 45 speakers, 50 media servers and computers and 15k mapped RGBW LED pixels are seamlessly blended into the intricate set work and woven together under a family friendly, exciting space themed narrative. Everyone feels like part of the interactive mission which is supported by pre-recorded characters in the media, real-world performers, and an artificial intelligence “ADA”. In most attractions the excitement would be over after the big ride moment, but this is just half the experience. The visitors get to take part in an escape room style experience where they must retrieve valuable specimens and power up the Issue: 361 features 13 Tetrabank with Tetracells to ensure they have enough energy to get back to Earth in the escape pod! With a maximum throughput of 1,400 people a day, the summer holiday space explorers scored this new 20-minute immersive experience 10/10, the next step is to release the enhanced one-hour schools mission in the Autumn of 2023. A flight is included in the general admission to the centre and is suitable for over fives, although some restrictions apply. The attraction design and creation were led by the National Space Centre in-house immersive production studio NSC Creative, working collaboratively with a team of UK experts including ABC AV and Audiologic. NSC Creative provided overall project management and creative direction along with specialist immersive AV integration and all the story, content and performance production. Anna Shahin, application support engineer at Audiologic, explains: “This was a very exciting project to work on with ABC AV and NSC Creative! The system required speakers to blend in with the futuristic aesthetic, making the K-array ecosystem an obvious choice. The Kobra KK52, KK102s and Rumble KU210 subwoofers made for an immersive 7.2 surround sound system in the show stopping Tharis One spacecraft room, and the Vyver KV52’s and Rumble KU26 created a 5.1 experience in the Transporter. The KF26 Domino speakers throughout the rest of the system provided full range, crystal clear audio to attendees racing through the rescue mission. The National Space Centre has a Q-SYS Core 510i running its other systems on site, and its available DSP headroom and open architecture platform made this the best choice to run Tetrastar Spaceport. Due to the expansive custom audio requirements, a media drive and multi-track player upgrade was added to the processor as part of the new system.” ABC AV led the AV, lighting and show control systems design and integration of the media rich experience. Andy Bates, CEO, ABC AV states: “Working with Simon, Anna, Diogo and the other engineers at Audiologic made perfect sense because they knew the entire product offerings across the K-array, Innosonix and Q-SYS ranges and they were able to balance the right mix of products and features required, while still fitting in the project budget. Also, the simple integration of control of the Q-SYS Core processors with the Medialon show controller made integrating it all together a relative breeze. I’m very proud of our involvement in this project and think it is an incredibly special immersive and educational space. Dave Wooster, director, 2BHeard Limited explains: “2B Heard assisted with initial room designs using K-framework 3D Modelling software, followed by proof- of-concept demonstrations as well as attending site to commission the simulator speakers system. The combination of K-arrays slim true line array systems coupled with their amazing performance led to a system that both visually and acoustically perfectly matched system to project.” Paul Mowbray, project director, NSC Creative comments: “By selecting the best people in their fields we were able to put together an experienced team of specialists all working together towards the goal of suspending the visitors’ belief and transporting them to Mars and back on a wild space mission.” Andy Bates, CEO, ABC AV adds: “Tetrastar is like a mini science centre packaged into one exhibition. The complexity of the show control and AV system is next level to ensure every mission goes successfully even if the participants don’t always achieve their objectives! Every action triggers a response and feeds into a scoring system that gives a unique outcome and award at the end of each mission to encourage repeat visits.” The £2.88m project ‘Extended Reality for new Audiences’ also included a new Reality Lab teaching about space and a XR infused Community Engagement Programme at the National Space Centre. It was supported by the Inspiring Science Fund, a partnership between the Department for Business, Energy & Industrial Strategy (BEIS), UK Research and Innovation (UKRI) and Wellcome, as well as the Local Growth Fund from Leicester and Leicestershire Enterprise Partnership (LLEP), The Royal Commission for the Exhibition of 1851, The Garfield Weston Foundation and Fidelity UK Foundation.March 2023 14 features GES Circles Around with Robe Hugely successful Swedish pop supergroup GES (a nifty acronym derived from the surnames of three of the country’s biggest singing stars – Anders Glenmark, [Orup], Thomas Eriksson and Niklas Strömstedt) continued a rollercoaster tour that started in 2021, wrapping up 2022 with a 33-date sold-out residency at Stockholm’s famous Cirkus venue. A stunning lighting and visual stage design was created by Palle Palmé, based around the architecture of this unique circular-shaped venue which was also where the tour had originally kicked off all those months ago after the first Covid restrictions were lifted. The design featured two truss circles and a curved LED screen on an automation system, with an all-Robe lighting rig in the air. Think elegance meets superlative pop: lots of dynamics, colour and movement and an environment where dynamic lighting and visuals reinforce the fun, joy and exuberance of superlative pop music. Palle chose Robe to give him all the versatility and energy needed to make this show rock and to match the enormous energy and enthusiasm of the band, who are among Sweden’s finest pop aficionados. GES and their three individual careers started in the 1990s, so Palle was inspired a little bit by other artists of that era like Electric Light Orchestra (ELO) who brought a spherical spaceship theme to their landmark creative work, but with a bang-up-to-date look and feel. Palle was also informed by working with two of the GES stars back at the start of his own career, one of the reasons he was asked onboard to design this tour. Backed by a fantastic band, the whirlwind- paced show romped through a string of hits from the collective and individual careers of GES to which the audience knew all the words! The energy pumped Issue: 361 features 15 relentlessly from the first bars to the last strains of the final number and Palle’s major task was keeping everything looking fresh and vital for two hours. The overhead rig comprised 64 Robe LEDBeam 150s, 16 MegaPointes, 17 BMFL WashBeams, with three RoboSpot systems running six of the BMFL WashBeams: two for each member of GES. The RoboSpot system had also been an important element of the touring lighting system. All of these Robe fixtures, supplied to the Cirkus dates by rental company Musiklagret from Borås, were chosen for their versatility and power, the essential requirements needed to create lots of dynamics and fluidity. The 64 LEDBeam 150s were equidistantly spaced out around on the larger ten metre diameter circle truss, which offered the perfect size and geometry for this set-up, a format extremely easy to programme this quantity of fixtures with as it was divisible by eight. Palle wanted LEDBeam 150s for their small size, speed and uniqueness as a compact LED wash luminaire. He loves the “fabulous” zoom which adds a different dimension and finds them effortless to handle. A volley of 16 MegaPointes rigged in the smaller three metre diameter truss worked in conjunction with the LEDBeam 150s. MegaPointes are a go-to light for effects and Palle maximised the gobos, prisms and other features that make this fixture an ultimately useful addition to any light show. Palle remarked on how well the two fixture types (LEDBeam 150 and MegaPointe) blend and contrast in this case and notes the great match in colours. The interaction between the two fixture types becomes more pronounced during the closing numbers of the set where the circles are flying into multiple dramatic positions, pitching and flying in and out within one another. Automation was also integral to the show, used judiciously and carefully to bring an edge to an already spectacular looking stage. Eleven of the BMFL WashBeams are on the front truss, used for keys and specials, with the other six upstage on the floor, shooting through from the back. The six RoboSpot controlled BMFL WashBeams were all on the front truss, with two lights dedicated to each member of GES. “I’ve tried a lot of different remote systems in recent years, and this is one of the best and the most straightforward to set up and use,” Palle stated. All the BMFL WashBeam parameters were run through the grandMA console, so all the RoboSpot operators had to do in this case was concentrate on following their targets. For one song, “Rain with Me” (Regn hos mig) a fixed breakup gobo together with the animation wheel in the BMFL WashBeam is used on Orup, a rain-effect that would have been impossible using a standard follow spot. Palle thinks that having access to these possibilities adds real value to the RoboSpot package. While he loves traditional followspots and respects the associated art of operating these, he feels that RoboSpot, with its human element, combines new tech with traditional skills very well, adding that his followspot operators have been fundamental to this show. “It’s always been a really vital role,” he confirmed, “which continues whether it’s a manual or technology assisted operation.” The show’s grandMA2 lighting console operator Edvin Nyström worked on the whole tour and will also work for Palle on pop and country singer Jill Johnson, who plays multiple dates at the same venue through the first months of 2023, also using a large Robe lighting rig. Palle, who also designs for major theatre, musical and opera productions, really enjoyed working on the GES show. “There was much scope for interdisciplinary and crossover techniques,” he enthused, which resulted in creating a fabulous pop aesthetic that merged moments of theatre with arena show and classic pop, rock and EDM lighting as the band ripped through a masterwork of GES’s individual and collective hits, to the massive delight of their diverse fanbase. photos: Louise Stickland www.robe.czMarch 2023 16 features National Theatre moves to LED standardisation with Martin Professional The Lyttelton Theatre, the middle-sized of the three venues that make up the National Theatre complex on London’s South Bank, has recently undergone a complete lighting upgrade, replacing the last of its tungsten and discharge automated heads with an almost all-Martin LED rig. This brings it into line with the other spaces, including its premier Olivier and Dorfman Theatres. Both have also systematically transferred exclusively to LED rigs, using Martin by Harman MAC Encore Performance wash lights (both CLD and WRM versions) and recently the new high- powered MAC Ultra Performance profile. Laura Curd, lighting supervisor for the Lyttelton confirms that in recent months the theatre has taken delivery of nearly 80 mission critical fixtures from the Martin portfolio, including a further 54 Encore Performance WRM and CLD ‘top-ups’ and seven MAC Aura PXL; but most significantly, 16 of the new MAC Ultra Performance. These were sourced from a variety of suppliers including Stage Electrics, White Light and Flashlight, all dealer partners of Sound Technology Ltd, Martin’s UK distributors. “Our new rig is now in the final stages of development and is completely LED,” she confirms. The Lyttelton was fortunate in being able to review the MAC Ultras when they were trialled originally in the National’s largest (1,150 capacity) Olivier Theatre. “The Olivier was the obvious first choice for the Ultras. The output is immeasurable compared with other units and they have proved to be brilliant. Therefore, they have been increasingly used in the Dorfman and Lyttelton for show specifics.” They had also been keen to achieve a like-for-like match when replacing MAC Vipers. Aside from their phenomenal output (based on an 1150W, 6000K proprietary LED light engine, offering 46,500 projection lumens) and a next generation framing system there are other key differentiators, such as the intensity across the 1:7 zoom range, the higher definition optics and near non- existent noise levels within a fully-featured chassis. The National, and its incoming production designers, clearly think so too. The MAC Ultra Performance has already been used on three productions: by Lucy Carter in Much Ado About Nothing, Oli Fenwick in Blues for an Alabama Sky, and now the in-demand Jai Morjaria in the current production of Othello. With 890 seats, it is the duty of Laura Curd and her team to support the designers that come into the space. “We help realise their show designs and a lot more besides,” she says. “Now we have swapped out the old fixtures for a majority Martin lighting a lot of the work is about experimenting as to how they work best in the space and collecting feedback from designers with regard to positioning. In particular, we try to consult with our Issue: 361 features 17 lighting programmers in rig updates, as they get a first-hand insight into the way designers use units in the space. We are collectively up for trying new things and they are an integral part of what we do.” They recognise the extra versatility they now have, with a proposed new truss and motor system to their overhead bars enabling further fixtures to be clamped to the bars as necessary, which will mean that weight is not an issue. For Jai Morjaria’s Othello set design they were swiftly able to derig the Ultras, relocating them to side trusses in order to create a horseshoe, for use as key backlights and surround the space with high brightness. “We didn’t try to hide the lighting, it was very present on this show,” said Jai. “The Encores did a lot of the shaping and the Ultras were the key and punched through.” In addition to reconfiguring the standard house rig they implemented their own rig on top. Thus, four Ultras and three WRM Encores have been mounted on each side with a further five Ultras and four Encores upstage, with additional heads commissioned from the National’s Resources inventory. “So there is a lot of brightness,” exclaims Jai. “We have every position covered.” He auditioned successfully for Othello, after his previous Lyttelton show had been admired by director Clint Dyer. On surveying the space, the production designer was delighted to discover that the space had converted to an all-LED rig. “It’s a dream situation for a lighting designer to see your rig has been upgraded with a good level of stock, like the MAC Ultras and Encores and not just cheap alternatives. “It was the first time I had used Ultra; I’ve never had a theatre to justify a unit of that size and scale previously, and it was absolutely the right fixture.” However, such was its power, he said, he has never been able to run it above 30% “even with multiple gobos.” As for the Encores, he says: “My preference is always for cold white over warm Encores for this type of show because of its crispness and intense brightness. I find I can actually achieve a better warm with the cold version as you have more options with spectrum intensity.” Aside from the Ultras’ ability to punch through the Encore washes, Laura Curd adds that the shuttering is also a key feature. The framing option in the Encore Performances is proving a real boost, she says. “The colour mixing and optics are great, with the warm being the most common unit in our rig. We use the warms a lot as face lights in their native colour temperature.” And when the Ultra scythes through, it opens up a new dimension altogether, she says. Jai Morjaria agrees. “The framing had everything expected, but more importantly, it did it well and the shutter didn’t ‘banana’. It was sharp and kept to its target.” Finally, when assigned to the Robert Juliat SpotMe performance tracking system which determines positional data, both the Encores and Ultras were again equal to the task. “They were extremely responsive and achieved what they needed to,” notes Jai. He is convinced that this is the future of lighting. “Because shows are getting brighter and want punchier lights the Ultras will become increasingly popular.” In conclusion Laura Curd senses the Lyttelton’s upgrade will future-proof it just as it has its sister theatres. “The advance in LED technology has been incredible, and the Ultras and Encores are at the top end as is the MAC Aura PXL, which is proving great as part of the basic rig. As for maintenance [on LED fixtures] there appears to be limited day to day service required. “Hopefully we now have maximum flexibility and can offer a really high service to our designers,” she concludes. photos: Johan Perrson. March 2023 18 features Theatre Indigo Colours Up with Astera NYX Bulbs Spanish lighting designer Antonio Arrabal (AAI, Lighting Designers Association of Spain) used Astera NYX Bulbs to illuminate a series of scenic spheres that were an integral narrative element of the Índigo Teatro company’s latest production, Viaje al Planeta de Todo es Posible which premiered at the Cánovas Theatre in Malaga. The production, aimed at children aged between five and 12, is fun and adventure filled, but also with plenty of appeal and massaging for accompanying adults; it unfolds a story about the importance of kindness and friendship. It was created by Indigo Teatro’s acclaimed artistic director Celia Almohalla with whom Antonio collaborated closely on evolving the show aesthetic, together with set designer Isabel Soto. “There was a lot of teamwork which is a very satisfying way to realise a production,” he commented. Lighting plays a fundamental and strategic role in the storytelling, dramaturgy and impact of the work which is set on a different planet. The performance space is transformed into a magical and mysterious environment, with lighting creating different moods and textures as the heroine of the story subtly learns the advantages of overcoming adversity and the insights of looking at things beyond face value. One of the narrative threads requires the characters to continuously interact with 15 magical spheres which needed lighting for their leading role in the drama. This presented a bit of a brainteaser for Antonio who did some research and auditioned to find the best light sources for the job! He needed a fabulous quality of light in addition to a wireless DMX controllable fixture that could be run from the lighting console. Enter Astera’s ingenious NYX Bulbs, which ticked all the boxes and more! The NYX Bulb is the same size as a standard LED bulb and was the world’s first colour-tuneable LED bulb developed for professional film, stage and event production use. The Spanish distributor is Earpro&EES. It was the first time that Antonio had used these specific products, however they provided the perfect solution meeting all their needs with “excellent” results. The size, intensity, vibrant colours, and smooth colour changing features and flexible control all “made them ideal for this project,” he underlined. The 15 spheres are a variety of different sizes, some are larger at around 25cm and are part of the set pieces, while others are slightly smaller, about 15cm in diameter, and these are carried and moved around by the cast. The spheres are used constantly throughout the show and interact with the action by changing colour or intensity or blinking as if talking and communicating with each other. They are controlled via the lighting console receiving the CRMX signal from the AsteraBox. Antonio says programming these NYX Bulbs to be part of the show magic was some challenge. “We are talking more than 200 main cues that interact with about 20 cue lists with between five and 25 cues each, plus effects that bring the spheres to life,” he explained, and the NYX Bulbs are present throughout the entire hour-long show, together with several conventional luminaires and 12 moving heads. Talking about Astera more generally, Antonio thinks the brand has a good reputation for quality and robust engineering and that the products are “proven, stable and well respected” across multiple professional sectors. Part drama part musical, Viaje al Planeta de Todo es Posible was nominated and a finalist entry at the Lorca Awards 2022 for Best Lighting and Set Design. One of several elements making this show interesting and inspiring to the numerous hosting theatres around Spain is its educational aspect, as it was partly developed to enhance school campaigns addressing ‘hot button’ topics like bullying and overcoming insecurities, anxiety, lack of self-esteem and confidence, etc. Indigo Teatro’s innovative and out-of-the- box approach is well known and for its proactivity in providing students and young people at educational centres with a wealth of positive confidence-building tools and information as well as opening valuable channels of communication through the art form of theatre so they can open up and start dealing with issues. photos: Salvador BlancoIssue: 361 features 19 The 25th MOBO Awards rely on DiGiCo to deliver the UK’s celebration of music of black origin The MOBO Awards, which recognise and celebrate black music and culture, returned for its 25th year in October last year. With Craig David, Little Simz, Central Cee and Knucks among the artists recognised, the annual ceremony took place at the OVO Arena Wembley, where a star-studded line- up of artists including Nile Rodgers, Kojey Radical, Tion Wayne, Fireboy DML, Cat Burns, FLO and Eliza Rose all performing on the night. DiGiCo’s SD10, SD12 and S21 digital mixing consoles offering ultimate flexibility, sound quality and reliability to the technically challenging event. Simon Purse, head of audio at South West Group Events (SWG Events), who also acted as audio crew chief at MOBO Awards, explains that, for the first year, SWG Events was sole audio supplier for the event. “The MOBOs is a technically challenging event to pull off,” says Purse. “It was also an extremely quick turnaround from when SWG Events won the project to when the event happened, so prep time was limited.” The company’s own DiGiCo digital mixing consoles, including an SD10 and an SD21 were used at the event, with a guest SD12 deployed at Nile Rodgers monitor position and an additional SD12 at FOH. “DiGiCo is always extremely rider friendly,” continues Purse. “If you put an SD10 on monitors and an SD12 at FOH, you just know that whoever turns up they are going to be happy. With the MOBOs being such premium production, and knowing there could be last minute additions to the line- up, we wanted to ensure we had the best audio equipment to work with.” Without too many specifics until just before the event, Purse notes that having Simon Honeywell at FOH and Mark Sunderland at monitors was a big comfort as he could rely on their skill sets to build the channel list as they went through it. “The nature of the gig meant we couldn’t be more prepared, so having experienced engineers like Simon and Mark was key to ensuring a successful outcome,” he adds. With the DiGiCo consoles readily available and his crew representing SWG Events on site, the team was able to effectively manage all the technical and engineering aspects of the event. “What was really useful was knowing we had the Madi split options in the SD Racks. This gave us lots of different ways of splitting the signals to the OB truck, and we knew we would have plenty of I/O channels,” says Purse. “Thanks to the Madi splits, we didn’t need to have tie lines to the OB truck, which gave us additional flexibility.” With the MOBO Awards being heavily televised, reliability was key. “Whilst the outside broadcast was independent, they relied on our split being consistent,” explains Purse. “We had two Mac books with two audio interfaces simultaneously running playback and time code. Both interfaces were then fed into the S21 which was setup to receive one unit as primary, the other unit as the secondary. This meant if any interruption to the signal of the primary unit should occur, an automatic switch to the redundant unit would kick in with no interruption to audio.” With guest engineers including Tion Wayne’s engineer, Dion as well as Craig David’s engineer both working on the SD12, Purse recalls how smooth and seamless everything ran at the event. “It was a new gig for us, so we wanted to ensure everything was perfect, and it really was!” concludes Purse. “We walked into it and smashed it. Everyone was pleased with the result and how things were running on the night. Having DiGiCo as house consoles made our job much easier, as we know they’re rider-friendly, reliable, flexible and delivered great audio, which was exactly what was expected of such premium event. We are currently awaiting delivery of an SD12, so our arsenal of DiGiCo solutions will be even bigger and better, making us prepared for any exciting challenges lying ahead!” www.digico.bizNext >