< PreviousJuly 2024 news 10 Flints and Steeldeck Rentals: Partnership Announcement Flints, a leading supplier of specialist materials and hardware for theatre, broadcasting and the events industry, has announced the launch of a new click and collect service partnering with Steeldeck Rentals, experts in the design and installation of staging and seating. By utilising Steeldeck Rentals’ London office in Verney Road, Bermondsey, Flints aims to streamline its operations, meeting the growing demand for a dedicated click and collect service in the city. This partnership marks a significant expansion of Flints’ services, specifically improving access and convenience for its customers who operate around London. Ease of access is a key goal of the new click and collect service. By offering a convenient solution for customers who need materials and hardware quickly, the service saves both time and effort. The central London location ensures that orders are readily accessible to a wide range of customers at a more convenient time and location. Orders placed by 11am will be available for next day pick up, with a collection window from 08:30 to 16:00, Monday to Friday. Customers will have seven days to collect their orders. Parcels will be clearly labelled and a delivery note will be included for signature upon collection. All customer enquiries should be directed to Flints sales on +44(0)207 703 9786. Orders can be placed directly on Flints’ website www.flints.co.uk and delivery option of “Click & Collect from Steeldeck Rentals, Verney Road” selected. There will be no charge for this service and no minimum order value required. By consolidating operations in London, both companies aim to reduce the carbon footprint and costs for customers in the vicinity. This initiative aligns with the environmentally conscious practices of both Flints and Steeldeck Rentals. To ensure the service meets customer expectations, the service will begin with a three-month trial period in London, allowing both companies to assess and fine-tune the service. If successful, there are plans to expand the click and collect service to Steeldeck Rentals’ Manchester location, reaching customers in the North. This innovative partnership between Flints and Steeldeck Rentals promises to set a new standard in customer service and operational efficiency, addressing key market demands while promoting sustainable practices. Dan Roncoroni defines new role of product manager for TiMax TiMax, the pioneering developer of object- based audio and show management technology has welcomed Dan Roncoroni to the leadership team in the newly created role of product manager for TiMax. Dan brings a wide sphere of product knowledge and market experience to the job. For over ten years Dan has established his presence as a freelance AV consultant specialising in multi-channel, object- based audio design. His understanding of the market and the products within it is unrivalled, which defined Dan as the right choice for the position. As product manager for TiMax, Dan will help expand the presence of TiMax across the broad spectrum of performance, presentation and experiential markets where TiMax excels. The position incorporates business development, product management and application support for the expansive distribution network which continues to grow for TiMax. Through his exhaustive contact network of consultants, integrators and end users, Dan will develop the business into current and new market spaces, whilst reflecting customer requirements into future product development. The new role of product manager progresses the work evolved by TiMax directors Robin Whittaker and Dave Haydon, respectively product director and commercial director, following the move of TiMax into the Focusrite Group late last year. Dan said: “I’m looking forward to working with a set of products that has had such an impact on what I do. I’ve worked with every spatial audio product on the market, but TiMax has been my go-to solution. In the six years since I discovered TiMax, no other product has matched its power and versatility. With my understanding of the product and where the market is at, I hope to add much to the brilliance of the product.” Dave Haydon said: “Robin and I are delighted and privileged to have Dan join in this new product management role; he brings so much to it in terms of his understanding of the relevant market sectors and potential new directions as well as his vision for product development.” Martin Audio helps create immersion at Twist Museum Based in London’s West End, The Twist Museum is an immersive, interactive, multi-sensory attraction, set on a 15,000 sq. ft site. Challenging the visitor to explore the world of illusion, Twist – which stands for‘The Way I See Things’ – is a collaborative work of leading artists, psychologists and neuroscientists. The audio-visual integration was entrusted to London-based Crossover, who specified, installed, programmed and commissioned essential audio-visual equipment, for management and routing over a digital backbone. Developed by multimedia artist Aristotle Roufanis, the Digital Mirror exhibit uses a camera and large format display to create an interactive ‘mirror’, distorting peoples’ reflections in real time. The Crossover team provided the displays, the audio system and the back-end processing hardware that manipulates the captured images to display the illusions and distortions to the viewer. Crossover helped the Museum’s project team build another of Roufanis’ creations, the Digital Kaleidoscope, with audio looping in real time on Ableton Live. The Kaleidoscope is a mirrored hexagonal tube; people enter it immerse themselves in a stunning display of colours and patterns and their reflections which are influenced by their movements and interactions. Crossover supplied and installed the projection systems, camera, processing hardware and audio system for this interactive marvel. Martin Audio loudspeakers were specified in the Audio Interactive Space and Mind Hub where distortion free, phase coherent output was paramount. The former is a large octagonal acoustically treated 360-degree surround-sound room that immerses the visitor in soundscapes created by artist and composer Antoine Bertin. Custom-programmed LED lighting synchronises with the audio to enhance the sensory impact, with LF rumble provided by a Martin Audio SX110, 1 x 10in slimline subwoofer. This was chosen “for its super compact form factor, and the fact it could be easily flown without taking up valuable floorspace,” according to Crossover senior systems designer, Juan Garcia. “In addition, we are very familiar with Martin Audio and love the sound of their speakers and their reliability. The fact that the space was small and the sub is so powerful, we only needed one SX110, to avoid hotspots and dips.” It was installed towards the side of the room rather than the centre, in order to maximise bass coverage. About halfway through the journey, the visitors enter the Mind Hub. Crossover installed the lighting and supplied the lighting control hardware and audio system for this spectacle, at the centre of which is a huge cube of 1,000 individually controllable LED spheres hanging from the ceiling, creating mesmerising patterns and shapes. Here and in the events area, Crossover specified eight Martin Audio ADORN A55T, focused on background music and small events within that space, chosen for their output within a discreet footprint. These are powered by a Martin Audio VIA2004 four-channel, 2000W Class D amplifier. For full story see etnow.com/project newsIssue: 377 news 11 Prism Sound Urges Customers Not to Be Fooled by Fake Lyra Interfaces Audio interface specialist Prism Sound is warning audio professionals to watch out for dangerous fake versions of its award-winning Lyra audio interfaces after yet more counterfeits have been discovered. In recent months customers who have fallen for this scam have been left high and dry when the fake units malfunction and they discover there is no warranty or support for them. Worse still, some of these units are literally dangerous. “It’s simple, really,” says Prism Sound’s international sales director Mark Evans. “If you want a Lyra 1 or 2, buy it from an authorised dealer. Don’t throw your money away on a fake. If a deal sounds too good to be true, then it probably is.” The fake units, which it is believed are being illegally manufactured in the Far East, are not only bad for the customers who buy them, but also for the Prism Sound brand. For over 35 years, Prism Sound has built an enviable international reputation for audio quality, reliability and the build quality of its products, all of which are characteristics not found in fake units. “Since discovering these counterfeits, we have been examining them thoroughly and have run numerous tests that indicate just how substandard they are,” Evans adds. “Some of them are really dangerous and so badly put together that there is a high risk of serious electrical malfunction. Obviously, this could put people at risk and cause untold damage to homes and studios. By highlighting this danger, we hope we can protect our customers from losing money, or much worse.” The price of a legitimate new Lyra interface is £1,899.00. While it is understood that cheaper units are available on the second-hand market, Prism Sound advises anyone thinking of buying one to check with them first. “We can easily verify the authenticity of a Prism Sound product; all customers have to do is email us for guidance on how to distinguish a real unit from a fake one,” Evans says. “Counterfeit interfaces may look convincing but under the surface they are poorly made and fall a long way short of the audio performance and build quality of the Prism Sound brand.” For more information, please visit www.prismsound.com or speak to a local distributor/dealer. A full list of authorised dealers and distributors is available on the Prism Sound website. DirectOut unveils MAVEN: a powerful yet compact DSP platform for ultimate flexibility DirectOut, a leading manufacturer of professional audio solutions, has announced the launch of MAVEN, a smart audio platform that redefines the limits of flexibility, rack space and DSP power. Building on the success of the PRODIGY series, MAVEN offers DirectOut’s powerful DSP engine in a compact 1RU device, expanding the integration possibilities for sound engineers, system designers and AV professionals. With the modular architecture and popular module-design introduced by PRODIGY, MAVEN is fully compatible with its big brother, PRODIGY.MP and can be tailored to the specific needs of any project. It delivers the same DSP power, enhancing its flexibility and range of applications. MAVEN offers support for a variety of audio network formats, including Dante, AVB/MILAN, RAVENNA/AES67 and SoundGrid. It is the perfect solution for live sound, installation, remote-production, studio recording and broadcast. MAVEN’s reduced footprint makes it the perfect solution for decentralised setups in installed AV for systems of any size, where flexibility, maximum reliability and compactness matters. MAVEN inherits the outstanding sound quality and tour-proven reliability of PRODIGY.MP including, flexible routing options and a scalable DSP core, making it perfectly adaptable to the dynamic demands of live events. As part of the DirectOut Audio Solution Model (ASM), MAVEN expands the portfolio of smart hardware platforms towards smaller sized solutions, allowing users to extend their systems with additional functionality, control protocols and add-ons to create a customised solution adapted to their specific requirements. “With MAVEN, we can now offer the unlimited DSP feature-set, uncompromised reliability and flexibility initially introduced by PRODIGY.MP on a footprint of just 1RU,” says Jan Ehrlich, CEO of DirectOut. “Our customers’ demand for a more compact and even more granular platform has encouraged us to set new limits in terms of downsizing a DSP solution that is as powerful as our existing products.” With MAVEN, DirectOut is setting new standards in the audio industry, taking form factor and power density ratio to a new level. Liverpool Studio ‘The Cabin Recordings’ Chooses Audient Liverpool-based record producer and songwriter, Alec Brits, has been steadily growing his Audient gear collection at his The Cabin Recordings studio, all the while relying on his compact ASP4816 mixing console which is at the heart of his professional set-up. With EVO 4, EVO 16, SP8 already in his arsenal, the latest addition is the iD44 20 in/24 out audio interface. Alec aims for a very specific atmosphere at his ‘one room’ style recording space at The Cabin. “I want it to feel like you are walking into your best friend from childhood’s home, which just so happens to be filled with the finest instruments and recording equipment: low pressure, high quality,” he says. So far so good, as he gets a steady flow of bands coming through his doors, including St Catherine’s Child, HOLLOWBODY, Bubba Shrimps and Clean Cut Kid, amongst others. Alec, a LIPA alumnus, describes how the ASP4816 has helped him develop his recording style. “I have loved how it has allowed me to try different workflows and learn the sound of the analogue workflow both in recording and mixing. The cost-effective nature of this particular console makes it an absolute win sonically, without having to face any of the downsides of console ownership.” Alec also has the benefit of having a separate home studio space, which is dedicated to songwriting, mix prep and video editing when he’s working on his YouTube content. “This room is much smaller and sounds very dry and tight,” he explains. “It allows for the opportunity for a fresh perspective after a long day, week or month in The Cabin. Less gear which provides less option paralysis.” When not working on clients’ projects in the studio, Alec is reviewing products on his YouTube channel. No ordinary product reviews, however, as he writes a brand-new song for each video when the product is used for the capture of audio. As with all the EVO products he reviewed, he was so impressed with iD44, he decided to keep it. Talking about the iD44, he says: “It was the perfect fit for my home studio, because it could have several different microphones set up at one time. It allowed me to audition speakers, but most importantly it did something that very few pieces of equipment get right: the iD44 never gets in the way. He continues: “The AD/DA of the unit is stunning, and the fact that there are two headphone outs (with a 3.5mm additional input) just makes life a lot easier. I have one set of closed-back headphones and one set of open-back headphones for mixing and tracking respectively. “The mic pres are of course familiar as well.It’s a solidly built unit that feels like it can also be used in self-defence if needed.” July 2024 news 12 Blackpool Rocks with HK Audio LINEAR Boasting a unique blend of stunning architecture, versatile event spaces and state-of- the-art facilities, the iconic Grade II-listed Winter Gardens Blackpool has a proud heritage dating back to 1878. As a driving force in the regional economy of the north-west of England, Winter Gardens Blackpool hosts a diverse range of events in its various spaces. These include concerts, theatre productions, conferences, exhibitions, weddings, dance competitions and international matchplay darts. This varied programme necessitates versatile and flexible technical provisions. Recently, the Winter Gardens Blackpool team, in consultation with its trusted supplier ArranPaul, reviewed its audio systems to enhance and future-proof its inventory. As a result, they chose two HK Audio systems. Venue technician Allen Hendley explains:“We needed replacements for systems that were no longer meeting our needs. The new systems had to deliver high-quality audio and be powerful and portable enough to suit various spaces within the complex, catering to different events. These range from live bands to speeches at charity dinners, or background music for conference presentations. While affordability was key, we also sought robust, long-term solutions. “A few years ago, we had invested in an HK Audio line array for the ballroom and were impressed by the brand’s sound quality and build. That system has served us well. Following discussions with ArranPaul and Stuart Russell from HK’s UK distributor, POLAR, we opted for two HK Audio Venue Packs, which have proven to be very sound investments.” Winter Gardens Blackpool has invested in a LINEAR 5 MK II Big Venue Pack and a LINEAR 3 Compact Venue Pack. The former is an active system comprising two LINEAR 5 MK II 115 FA mid/high units and four MK II 118 Sub A subwoofers. The latter, a compact system, includes two LINEAR 3 112 FA mid/highs and two SUB 1500 A subwoofers. The vibrant, multi-faceted Spanish Hall at Winter Gardens Blackpool is one of the spaces benefiting from the new systems. Allen continues:“The heritage nature of the venue limits fixed installations in many rooms. Additionally, their use in various configurations means portability and modularity are essential to maintain flexibility. The Spanish Hall, for instance, can host up to 600 attendees for events ranging from business conferences to private functions with live performances. The LINEAR 5 Big Venue Pack handles these with ease. “The compact LINEAR 3 system’s versatility allows us to use it as a delay system or a stand-alone system in smaller rooms. Depending on the event’s scale, the LINEAR 5 units can also be adapted to a smaller set-up, using just one sub per side or sometimes only the tops for small-scale presentations.” The technical team at Winter Gardens Blackpool firmly believes their new HK Audio systems offer excellent value, consistently delivering premium audio for various events. Allen Hendley also appreciates the strong relationships with ArranPaul and POLAR:“ArranPaul has been a trusted supplier for Winter Gardens for many years, providing exceptional service. We also have direct contact with Stuart and the team at POLAR, who provide outstanding support for the brands they distribute. Their responsiveness and attention to detail give us extra confidence when investing in new systems.” NTGent elevates theatrical experience with ETC Source Four LED Series 3 Since its establishment in 1965 as the city theatre of Ghent, NTGent has maintained a prominent role in the Flemish theatre scene. The venue delivers high-quality productions that are both artistically challenging and socially relevant, utilising cutting- edge lighting solutions from ETC. Operating across two distinct realms, NTGent (also known as Nederlands Toneel Gent) crafts original theatre pieces and hosts external performances at its venues. For its original creations, which frequently tour internationally, NTGent prioritises a versatile lighting set-up capable of adapting to diverse venues worldwide. Conversely, visiting performances rely on more traditional equipment, albeit with a preference for cutting-edge technology. During a recent interview, Dennis Diels, head of lighting at NTGent, shared insights into the theatre’s operations and its decision to integrate ETC lighting technology. Diels emphasised the crucial role lighting plays in shaping the audience’s experience and guiding the theatre’s procurement strategies. NTGent operates a lighting equipment replacement programme every five years. In the latest evaluation process, the team at NTGent thoroughly explored a range of LED lighting solutions. Working together with consultant Jan Hooyberghs and FACE – a full-service provider for the AV industry – they pinpointed valuable insights from past experiences to assist in their decision-making and enhance future systems. Factors such as dimming curves, colour accuracy and consistency were paramount in their selection criteria. The ETC Source Four LED Series 3 Lustr X8 stood out as the favoured option, earning praise for its outstanding performance and reliability. “We found the Source Four LED fixtures excelled in colour fidelity and consistency across fixtures. In particular, the fact that the fixtures are calibrated by ETC, ensuring that future additions will match existing ones in the market was a significant advantage, alongside their impressive dimming performance,” said Diels. Robbe Boone, FACE commercial director, added: “It’s great to see that all the unique details of ETC products, which make them unmatched in light- producing quality, are recognised by renowned professionals with expertise in researching the market and validated through extensive testing.” As a result of the review process, NTGent made a significant investment in procuring 90 ETC Source Four LED Series 3 fixtures, utilising financial partners AED Lease and Realease Capital Belgium. NTGent already had ETC Sensor3 power control racks integrated into its lighting infrastructure, further enhancing the overall control and flexibility of its system. Tania Lesage, ETC market manager, expressed her enthusiasm for the collaboration, stating: “We’re thrilled to partner with NTGent in elevating their theatrical productions with our lighting technology. The Source Four LED Series 3 Lustr X8 offers unparalleled performance and reliability, facilitating a seamless and captivating experience for audiences.” Diels concluded: “Since being used consistently over the past three months, the ETC fixtures have satisfied all the critical criteria such as colour fidelity, consistency and dimming performance, firmly establishing their crucial role in shaping our future productions. We frequently had discussions about dimming issues with our previous luminaires, but this is no longer the case. The arrival of our new ETC equipment marks the beginning of an exciting new phase in our theatrical journey.” photo: NTGentIssue: 377 news 13 Madrid Opera House relies on Christie RGB pure laser projection to captivate audiences with stunning visuals The Teatro Real in Madrid, winner of the International Opera Award for Best Opera House in the world, has acquired five Christie M 4K25 RGB pure laser projectors to enrich its opera, dance, concert and recital programming with stunning visuals. The Teatro Real was inaugurated in 1850 and is currently one of the great international centres of opera activity. The building is an architectural mixture with 28 boxes on different floors, in addition to eight prosceniums and the double-height Royal Box. The jewel of the theatre is its 1,472 square metre (15,844 square foot) stage box which accommodates complex scenery changes, including multiple set design elements such as lighting and visuals on stage and in the orchestra pit. The theatre acquired three Christie lamp-based 3DLP projectors nine years ago and recently upgraded to more modern and efficient models with improved colour performance. “We are always committed to excellence and that is why we decided to continue with Christie when it came to modernising our fleet of projectors,” says Fernando Valiente, head of audiovisuals at the Teatro Real. “We know the result Christie projectors offers is always optimal and allows our facility to provide an experience no other brands offer,” he adds. After a series of tests in Christie’s demo room in Madrid, the Teatro Real decided that the M 4K25 RGB was the best choice for its needs. “It’s RGB pure laser technology that approaches the Rec. 2020 colour volume (a colour standard closest to what the human eye can see) provided us with colour nuance that far surpassed the old lamp technology. In fact, we saw it in Luigi Cherubini’s opera Medea where Christie’s RGB laser technology allowed us to get the punchy reds we needed to project fire and lava onto the stage.” Another feature of the M 4K25 RGB that caught the attention of the Teatro Real was the small form factor of the equipment: “For us, the weight and size of the projectors are very important elements, since we have to move and hang them in different parts of the theatre, and this particular model is very light (41kg / 90lb) and small compared to the old projectors,” says Fernando Valiente. He also highlights the omnidirectional capability of the equipment: “Thanks to its omnidirectional capabilities, we can place the projectors in any orientation, either vertically, horizontally or upside down, which gives us great flexibility in the installation.” The quiet operation of the M 4K25 RGB, which operates at 46.7dBA in standard mode, deserves special mention: “It is one of the best features of the projector because it makes it possible to finally have projectors inside the stage, something we couldn’t do before,” says Fernando Valiente. The audiovisual department at Teatro Real also valued the compatibility of the lenses of their previous Christie projectors with the new M 4K25 RGB projectors: “This was a great cost saving by reusing the entire set of lenses that we already had,” says Valiente. In addition, these lenses feature the ILS1 intelligent lens system, which simplifies lens changing – an advantage for live shows – and offers motorised zoom, focus and offset via remote. The new Christie RGB pure laser projectors are allowing the Teatro Real to meet the growing demand for visuals in operas: “Artistic directors have realised that projection technology perfectly complements the set design, and in some cases, replaces part of it. This combination enriches the show and delivers a wow factor that impresses audiences,” concludes Valiente. photo:Xaume Olleros Sound engineer Sergio Maschetzko chooses Austrian Audio for English Teacher Sergio Maschetzko is a busy man. Be it producing, mixing, as technical manager of the Lexington venue in London, or mixing front of house sound. Most recently he has been on a UK tour with highly tipped upcoming band, English Teacher. And he’s done it with a large selection of Austrian Audio microphones. Having grown up in Uruguay, Sergio moved to London in 2001 to follow what he describes as his lifelong passion for music. He worked at the 12 Bar Club in London and was soon operating front of house for a variety of venues and bands. In terms of live sound, Sergio has most recently worked with Black Country New Road, Black Midi, Yard Act and has just completed the English Teacher tour which concluded at the end of May at Electric Brixton. Sergio first had the opportunity to try Austrian Audio microphones at the Banquet Records / PRZYM venue in Kingston-upon-Thames. “I didn’t have my regular touring package with me so was lucky to be introduced to the OD505 and OC707 by Jacob the in-house engineer and I loved them,” he explains. Since then the engineer has deployed a whole series of Austrian Audio microphones across the stage, and with English Teacher a total of 12 Austrian Audio mics are in action on almost all vocals and instruments. On drums, a pair of CC8 small diaphragm condensers act as overheads, while on the snare a signature combination of an OD5 Active Dynamic and CC8 are used. “I’d go as far as saying the OD5 is one of the best and flexible microphones I’ve ever used,” says Sergio. “It’s warm, bitey, but with amazing clarity too and it’s very robust. I’ve used it on pretty much everything including vocals and I love it.” “I never mic the bottom ofthe snare, I only mic the top. Nobody hears the bottom in real life.” He continues: “The CC8, with a HPF engaged, is providing the attack, while the OD5 active dynamics provides the volume, the warmth and the full body.” On Lewis Whiting’s two guitar amps Sergio is using an OC16 large diaphragm condenser and the OD5 in combination. “I love the sound this combination delivers, I’m genuinely running it completely flat on the console. It’s just a beautiful reproduction of the sound from those amps and I wouldn’t change that set-up for anything!” On bass Sergio regularly uses a smaller 10” bass cab to capture attack and high-percussive bass tone in addition to a 4 x 12” cab. The OD5 is again in action here for the small 10” bass amp. Finally, and most importantly on vocals, an OD505 hand-held mic is used for the incredible dynamics of lead vocalist Lily Fontaine, while a further three OD505 are used as BVs. “The Austrian Audio hand-held vocal mics are amazing. In one word I would say clarity, but also with depth and full body and low noise. They also require less gain so have really great feedback rejection.” Concluding, Sergio is unequivocal in the performance of the microphones. “As a live sound engineer, I like to create textures, whilst always maintaining the actual sound of the band from what’s coming to me at the desk. I can hear straight away if there’s an issue in the response of microphones but with Austrian Audio they sound amazing and I recommend them to any engineer!” English Teacher will be playing at Glastonbury Festival in June, as will Sergio where he will be front of house for Yard Act. He says Austrian Audio mics will be in use for both at the festival.July 2024 14 features Skan Designs Powerful Arena System for James Blunt’s Who We Used To Be Tour Singer/songwriter James Blunt’s production team relies on Skan PA Hire for additional sound reinforcement due to audience demand. Tour and production manager Robert Hayden has worked with James Blunt since the Monsters singer first ventured into full time musicianship. He begins: “James and I started off doing little club shows around England before we went to mainland Europe where we played to even less people! When we returned, everything just took off for him, first with the single and then the album.” Following 2005’s You’re Beautiful from debut full length record Back to Bedlam there’s only ever been one audio supplier to help James’s sound reach audiences on tour. Robert continues: “I’ve used Skan since the beginning of needing production,” he explains. “They always send us people who like to come back and work on this tour, so we always have a good fit of crew. I’d say we’re very loyal to Skan; James has a great deal of input into the show, he’s very hands on like that.” Promoting a brand-new show for current album Who we used to Be, Robert says of the production: “James is a very entertaining performer and the live band sounds great; people who have never seen him before are usually shocked at how good his shows are!” Skan designed and supplied a d&b audiotechnik PA system comprising KSL main and sidehangs, SL SUBS and Y10P for fills, using D40 amps to power everything in the air while D80s took care of the SL SUBs on the floor. Furthermore, due to exceptional demand in Manchester, the show also required additional V Series reinforcement for the AO Arena’s show. On the road, system engineer and crew chief Adam Dickson looks after the PA. He says: “The minute we found out that we were opening to full capacity, I informed Skan director, Chris Fitch. We were coming up with solutions to make it work for our FoH engineer Mike Hornby and concluded that we needed to bring in additional resources for the show to ensure everyone had the best experience in the audience. “James really knows how to pull in and engage a crowd, especially in Manchester, it seems! He is a fantastic performer.” With a new show comes a new dynamic, but to hear James’s back catalogue and new songs, d&b is the obvious choice. Adam elaborates: “I love working with d&b products and I think the reasons behind why most engineers like using and mixing on d&b is that you can get it to sound the same everywhere, consistently, especially with the help of Array Processing. I don’t think other PAs can achieve quite the same results. Straight out of the box, the voicing of these speakers sound great to me.” At FoH Mike Hornby has a Midas PRO2 control surface with Klark Teknik DN9680 fibre / AES50 multiplexer, a Yamaha SPX 990 Pro multi effects processor and a Midas DL351modularstage box. He says: “It’s a bit old fashioned at FoH really, partly because I met James at the start or his touring career, but partly he’s not a fussy person, he doesn’t feel the need for all the paraphernalia that we could have nowadays. “He was going to get in-ear monitors very early on but once we chatted through it, he decided it wasn’t for him. And I think that’s been the right decision for him as he’s never had anything more than just a little bit of vocal and a bit of guitar. “The mix is nothing like his records. The band doesn’t play the songs like the recorded versions, so I couldn’t really make it sound similar. They’re produced in a different way to the live thing they do. What really matters to James is that we make a good show. “We use Skan for that reason. They are high quality and in all this time, nothing’s ever gone wrong. With them, this has been a consistently good sounding gig!” “I was a relative latecomer to this crew; I joined in 2006,” says monitor engineer Gerry Wilkes, who took over the monitor set-up that James and the band were already using. For his intuitive surface, Gerry mixes on a stripped back rider of a Yamaha CL5 with Rio I/O Racks, using no plug-ins. “When I started in the analogue days, the desk choice was a Midas H3000 or XL4. When we went digital, I had a Yamaha PM5D and upgraded to the CL5.” Gerry, who uses d&b audiotechnik M4 wedges for his personal monitors, concludes: “It’s all straightforward, we have six pairs of wedges plus a drum sub, thumper and an IEM mix for each of the backline techs, who are using the Sennheiser 2000 Series. “I began my career working as freelancer with Skan in 1984, so as they were the sound company in place for James when I started, it suited me! I get very well looked after by Skan; they’re really accommodating and provide an exceptional service.” photos: Tom MartinIssue: 377 features 15 Martin Dudley Evokes Spirit of Yes Classic Tales Tour with Chauvet Professional The creative process never rests. Like a ship sailing toward the horizon, it never ‘gets there’, but constantly evolves in pursuit of the next new thing.This quest has animated the music of multi-platinum prog rock legends Yes for decades, as they’ve boldly pushed musical boundaries in multiple directions, something they continue to do today. Those who packed Glasgow’s Royal Concert Hall on 20 May for the final show on the UK-EU leg of Rock & Roll Hall of Famer’s Classic Tales of Yes tour savoured this irrepressible energy as the two-set show kicked off with the dramatic sounds of Machine Messiah and wove its way through a collection of classics, including a seven-minute rendition of the uplifting I’ve Seen All Good People. After a short interval, the show thundered back to life with the haunting South Side of the Sky. The audience’s connection to this powerful musical journey was deepened by a brilliantly coloured and intricately textured Martin Dudley/Chris Davey light show that featured 12 Chauvet Professional Rogue R2X Wash units from Martin’s Lights Ltd.Like the music it reflected in light, Dudley and Davey’s design was the product of an evolving creative vision. Early on in the 24-city tour, which began in April at Lisbon’s historic Sagres Campo Pequero concert hall, the design moved into a new more intense realm. “At the start of the project, we were told was that it would be a ‘no haze’ tour,” said Dudley.“Therefore, we knew that the lighting had to be about colour, pattern and texture, rather than beams of light and movement in the air. Many of our lighting designs are quite understated and after the first couple of shows, the feedback from the band was that they wanted ‘more’ of everything, so we went for it!” Went for it, indeed: with its bold colour changes and swirling gobo patterns, the show engaged the crowd with looks that moved seamlessly through a sea of different moods and emotions. The vision powering this flowing design continued to evolve throughout the tour. This resulted in one of Dudley’s favourite looks, which added an edgier element to South Side of the Sky.After the initial programming was done, lighting director Chris Davey added a multi-coloured gobo to the cloth backdrop for this song. “It looked like the Northern Lights we’d recently experienced in the UK,” said Dudley. “Chris and I did a day’s programming in a WYSIWYG suite and another day at production rehearsals, but Chris overhauled much of the programming once the tour actually got under way, removing things that didn’t work and adding more great looks, no mean feat whilst dealing with different in- house lighting rigs every day. I’m grateful too to lighting technician Simone Bigum, who got the rig up and running every day and tour manager Dick Meredith, a contact from the very earliest days of Martin’s Lights, who brought us on board.” Another element was added to the show for almost all of its UK dates, including the Glasgow appearance, when Coloursound Experiment supplied a house lighting system that consisted of two flown trusses of Chauvet Rogue R2 washes and moving spots. (In-house lighting fixtures at different venues were used for followspots and front light.) Throughout the tour, the Rogue R2X Washes in the floor package remained the workhorse of the rig. Dudley positioned eight of the washes upstage on the floor, using them to put colour onto the white back cloth and occasionally to backlight the band. The other four wash units were hung on four 2.5m tall truss towers and used to light the band from the sides. “The washes did a lot of the heavy lifting in the show, putting rich, saturated colours onto the cloth for almost every song,” said Dudley.“Colour and gobo patterns were key to the looks we created. Yes is a band with a long history stretching back to the early 1970s and the classic projected light shows of the time.” Although Dudley and his team weren’t directly attempting to copy those shows, he says that the use of gobos with and without prisms, augmented by a lot of rotating, zoom and focus effects were what he terms: “A reference to the history” of this band, a history that has marked by an ever expanding and evolving vision, just like the lighting that supported the legendary group on this tour. photos: John Scott Upstage PhotographyJuly 2024 16 features The Royal Opera House Upgrades its Audio Conversion with Prism Sound Dream ADA-128 Units As part of a major overhaul of its technical facilities, the Royal Opera House in London’s Covent Garden has installed Prism Sound Dream ADA-128 multi-channel converters to handle analogue to digital conversion across its entire audio workflow. A total of seven Dream ADA-128 units are now up and running on the Royal Opera House’s new Dante network, with an eighth unit on order for later in the year. Daniel Arif, sound, video and broadcast project co-ordinator for the Royal Opera House (ROH), says: “I looked at numerous different audio converters but chose Prism Sound because the Dream ADA- 128 had none of the shortfalls I was finding with other products. It delivers exceptional sound quality, it integrates well with our other equipment, it has plenty of inputs and it doesn’t take up a lot of rack space. In short, these units do exactly what we want them to do and we are very happy with them.” The need to upgrade the ROH’s facilities was identified shortly before the Covid pandemic when the ROH board commissioned a health survey of the entire building. This highlighted various shortcomings and budget was allocated to resolve them. “No major work had been carried out at ROH since the mid-1990s and the survey clearly indicated that many parts of the building – from the technical infrastructure through to the back of house areas – were not where they should be,” Arif says. “Work needed to be done to bring everything up to standard.” As one might expect from a venue the size of the Royal Opera House, there is a massive amount of infrastructure to be considered. On the technical side, Arif says the obvious place to start was the existing sound studio because it could be remodelled quickly without impacting the rest of the building. “Although the sound studio picks up audio from various places in the building, the room itself and the equipment in it is self-contained,” Arif explains. “For this reason, we knew that the studio was the ideal place to start as it would give us a good indication of what could be done elsewhere.” Originally built in 2004 when the Royal Opera House began broadcasting performances live to cinemas across the UK and Europe, the studio is also used to capture audio for CD and DVD release. Prior to the refit it contained a Studer console and 5.1 monitoring and, in terms of workflow, behaved very much like a traditional broadcast studio. During the refit, which involved Munro Acoustics improving the acoustics and making the space much more comfortable for ROH staff, Arif and his team overhauled the entire equipment list to change and improve the workflow. “A lot of our material is mixed by freelance engineers who like to edit in their own studios, which could be anywhere in the country,” Arif says. “They wanted us to make it easier to move recordings around, so to accommodate that we decided to move to an ‘in the box’ workflow using Pro Tools and Pyramix. This meant changing the console as a traditional broadcast desk was no longer suited to that style of working. Our solution was to invest in an Avid control surface, along with two Macs that run simultaneously as our main and redundant systems.” Once the decision to go fully digital was made, Arif began looking at I/O and working out how to link up with the multitude of microphones that are used during each performance. A large number of inputs was vital – Arif specified 128 – as was rack space because the ROH studio has a relatively small machine room. “It was at this point that I began advocating for the Prism Sound Dream ADA-128,” he says. “I’d used Prism Sound converters while working at Abbey Road and had always loved their audio quality. When I saw an online demo for the ADA-128 I realised it was ideal for our needs and arranged a meeting with Prism Sound’s managing director, Jody Thorne.” Due to unavoidable manufacturing delays, Dante cards for the new ADA-128 units were late shipping so Prism Sound set ROH up with a temporary solution involving its Atlas audio interfaces. Once the Dante cards were delivered, ROH switched to Dream ADA-128 units and is now using them to handle all Dante to Pro Tools conversion. “We are still using Atlas interfaces to connect our analogue microphones, but when the ADA-128 mic cards become available we will be doing everything though the new units,” Arif adds. At present three ADA-128s are housed in the studio’s machine room, which handles 128 microphone inputs from the orchestra pit and stage. Another ADA-128 is in a rack room on the seventh floor where it handles microphones rigged in the opera house’s ceiling and all the amplifiers for the front of house PA. “We also have another ADA-128 in a flightcase on wheels, which we use for concerts that have awkward staging,” Arif says. “Our sixth unit is in the ballet studio, a small theatre where we record insight events for You Tube. Finally, we have a seventh unit that is used for mass audio distribution.” “The Dream ADA-128 is the only thing that comes close to doing everything we need,” Arif says. “I/O from FoH and for our broadcast networks is shared through our Dante system and we can switch things around as and when we need to. We recently installed a new Yamaha FoH sound desk and we have locked down the gains on that and the Prism Sound units so that no one can touch them. If anything needs adjusting it can be done digitally at destination.” Upgrading the sound studio and installing the new Dante network took just two months, from July to September 2023. At the same time the new FoH sound desk was installed and linked to the Dante network, which is working perfectly. “We still have a massive analogue infrastructure that runs alongside our new digital set-up, but the whole point of these upgrades is to move to fully digital in the future,” Arif says. “The goal is to save time, deliver workflow efficiencies by creating presets for certain shows, and make the entire system easier to navigate. This is important because the ROH is a busy and important venue, and we need it to be futureproof.” Prism Sound is now working closely with the Royal Opera House to develop new features for the Dream ADA-128 that will specifically benefit the live sound market. “Most sound engineers associate Prism Sound with recording studios and don’t initially realise what this unit can deliver,” Arif says. “The fact is that live sound and performance venues such as the ROH want and need high density interfaces, which is what you get with an ADA-128. We couldn’t be happier with our choice of converter, or with the service and instant back up we get from Prism Sound. We are happy to test new features for them because we like building relationships with the companies we work with.”Issue: 377 features 17 A New Era for a Parisian Icon: Lido 2 Shines Bright with Elation Lighting The renowned Lido on the Champs-Élysées, a Parisian nightlife staple since the Roaring Twenties and once famous for its exotic cabaret and burlesque shows has been completely renovated and reopened as Lido 2, a premier musical theatre. Now presenting major works of theatre in an immersive cabaret setting, Lido 2 attracts both French and international audiences with a lighting kit almost exclusively from Elation. Global Technique Concept, led by project manager Eddy Couloigner, oversaw the renovation and was enlisted as the lighting management service provider for the venue. In February 2023, the historic cabaret shows ended and renovation work commenced shortly thereafter. Over seven months, the new lighting kit was meticulously installed to meet the venue’s unique requirements, including a relatively low proscenium ceiling height of 5.5 metres. The challenge was to find compact lights that produce a large aperture, significant power and minimal noise, while being placed as high as possible to avoid obstructing the décor. In line with venue owner Accor’s decision to ban tungsten and halogen lighting across all its establishments, the Lido 2 features exclusively LED lighting. After evaluating several manufacturers, Eddy demonstrated the capabilities of Elation’s lighting fixtures, particularly its RGBMA light engines and versatility, leading to their approval by the venue’s designer. The Lido’s new Elation rig consists of 30 Fuze Max Profile, 30 Fuze Profile, 16 Fuze Wash FR and 12 Chorus LinE 16 fixtures. The Fuze Max Profiles, with a beam angle range from 8° to 40°, are primarily used for front and sidelighting, offering precision and essential framing shutters to avoid lighting the audience. The more compact Fuze Profile fixtures, with a 6° to 35° beam angle are discreetly distributed above the stage and, with full blackout framing shutters, maintain beam control off the audience. Fuze Wash FR fixtures, selected for their Fresnel qualities and built-in framing provide soft, even lighting. All three Fuze models feature a high CRI of 92 for superior light quality. The Chorus Line 16 linear wash LED fixtures, suitable for small spaces, are cleverly hidden above the orchestra and out of public view. The lighting’s versatility allows for use on other events as well, private gatherings for example, supporting Lido 2 as a multi-functional venue. All Elation lighting was supplied through Elation’s French partner, Best Audio & Lighting. The theatre’s legacy as a historic venue required specific standards regarding lighting, with significant criteria in terms of lighting quality. For the recent production of A Funny Thing Happened on the Way to the Forum, Eddy collaborated with a lighting designer from the opera to ensure that lighting quality met the high CRI standards. The aim was to provide fixtures capable of going beyond effects to deliver high-quality lighting while maintaining discretion and integrating seamlessly into the set design. The goal was achieved. Lido 2 has successfully reinvented itself and is poised to become a benchmark in musical entertainment. With the perfect blend of historical charm and modern technology, Lido 2 is set to build a new legacy in the heart of Paris. photos: ©Julien BenhamouJuly 2024 18 features ITEC delivers immersive experiences with the help of Sennheiser and Neumann In London’s world-renowned Science Museum, the Immersive Technology Experience Centre (ITEC) has emerged as a state-of-the-art venue created by d&b group, an expert in event technology. The new multi-room hub supports d&b’s future vision of immersive experiences and delivers complete sensory engagement through the use of spatial audio, virtual production (VP), virtual reality (VR) and extended reality (XR) technologies. The selection of Sennheiser and Neumann products underscores ITEC’s commitment to a top-tier audio infrastructure. Sennheiser’s powerful Digital 6000 system is used within the main Immersive Sound and Vision Lab, which houses an XR studio that utilises d&b’s SmartStage solution. “SmartStage is a Virtual Reality broadcast technology stack for creating immersive broadcast content,” explains George Veys, head of audio at d&b solutions [the service-focused business entity of the d&b group]. “The D6000 system handles all the presenter microphones and delivers flawless, high-quality, low-latency audio to the standard that we’ve grown to love with Sennheiser.” evolution wireless G4 IEM systems work alongside Digital 6000 to carry interruptible foldback audio to the presenters, enabling talkback and audio from remote guests who can be ‘teleported’ onto the SmartStage canvas. “Choosing high-quality, reliable equipment that is suitable for both broadcast applications and R&D purposes was vital for ITEC. Our large rental stock of Sennheiser solutions proves this to us daily and reflects the excellence found throughout the entire Sennheiser Group product line-up,” continues Veys. The broadcast audio control room is responsible for ensuring first-class audio is delivered for streaming, or wherever the live event is being sent to. Famed for their superb impulse response and resolution, Veys notes that: “Neumann KH 120 monitors are the gold standard for us. It was an easy decision to use them here, and our team have loved mixing on them!” He further emphasises the significant role Sennheiser has played for them during this collaborative effort. “Our customers’ work ranges from live sports broadcasts and university lectures to high-level corporate presentations,” Veys says. “The combination of Sennheiser’s market- leading reliability and product flexibility helps us effectively address all these markets, making it the obvious choice as one of our key audio partners for the ITEC facility.” The ongoing relationship d&b enjoys with Sennheiser means regular support and training is offered by the Sennheiser team. “Only a few weeks ago, some of our engineers went to the new Sennheiser offices in Marlow,” shares Veys. “While Sennheiser Group products are all incredibly intuitive to use, building relationships between us and manufacturers, both in terms of specifying solutions and being up to date on their latest technology, is critical for continued success with the products. The talented Sennheiser team are always at the end of the phone when we need them. I believe this works both ways and this 360-degree feedback is why they remain at the top of their game.” Since ITEC’s official opening in April, there has been a lot of positive feedback surrounding the multitude of benefits the facility will bring to stakeholders involved in d&b’s projects globally. It provides a place for them to test ideas with new technology and explore the possibilities available for immersive experiences through sound, video, lighting and multi- media technologies. ITEC will also act as a research and development facility, working with manufacturers to integrate new technologies, try out ideas and to engage in a range of education initiatives. “We’re thrilled to be collaborating with d&b on this fantastic, multi-faceted space that encompasses all the latest technologies,” concludes Kevin Gwyther-Brown, Sennheiser’s business development manager. “We believe that ITEC will serve as an ideal platform for d&b stakeholders and the broader community to explore the full creative potential of immersive environments, with our high-quality Sennheiser and Neumann solutions playing a vital role in enabling them.” photos: d&b GroupIssue: 377 features 19 Version 2 Supports Lighting Director David Bishop for This Year’s Britain’s Got Talent Auditions Presided over by the famous judging panel of Simon Cowell, Amanda Holden, Alesha Dixon and Bruno Tonioli and hosted by the multi award-winning presenter duo, Ant and Dec, Britain’s Got Talent, brings glitz, colour, chaos and an inordinate amount of fun to the UK’s television audiences every spring. As contestants battle it out to reach the top spot – this year won by singer Sydnie Christmas, to the tune of £250,000 and a coveted place on the Royal Variety Performance – viewers tune in at an average rate of five to six million per episode, with the first episode watched by over 12 million viewers, making BGT ITV’s biggest entertainment show this year. 2024 marks the third year television, broadcast and event lighting specialist, Version 2, has supplied the lighting, distribution, cabling, control equipment and supplementary truss for the series’ fun-filled auditions, all of which were filmed over two intense week-long sessions at the London Palladium and Manchester Lowry. The series was lit again by award-winning lighting designer, David Bishop, who was happy that Version 2 won the tender process for the series once more and specified fixtures that would give him the tools to add the flexibility, colour and sparkle his work is known for. His selection included Robe Spiider, Spikie and Forte fixtures, Martin Mac Aura XB Wash and Rush Par 2 and Rush Par 3, ETC Source Four LED S2 Lustr, Chauvet Colordash Battens and Accent, and GLP X4 Bar and Fusion Sticks, all of which were sourced from Version 2. “Version 2’s attention to detail is fantastic and any problems are fixed with no fuss,” says Bishop. “They go above and beyond what I ask for, adding any details I may have forgotten or overlooked. They ask the right questions and actually contribute to the process of getting every aspect of the system right.” The auditions are recorded as live in front of capacity theatre audiences with just two days of rigging and focusing before launching into the daily audition schedule. This involves two daily sessions of ten to 12 acts per session, with a complete change of audience between sessions, repeated for eight days at the Palladium and again for six or seven days at The Lowry. “We see a lot of acts,” confirms Bishop! “Around 20-25 per day. We need to be able to react nimbly as the auditions are formatted as traditional unrehearsed theatre auditions to give everyone a level playing field. So, with the exception of a few magic acts or an act with very specific lighting requirements, we never know what we are going to get! It’s full-on variety and we have to be ready to operate the lighting on the fly. “By changing from a previously largely conventional to an automated rig, I can accommodate this a lot more quickly and we can tweak things remotely as we go along. I had two programmers across this series: Tom Young and Adam Marshall – the royalty of the programming world – who look after keylighting, effects lighting and the media server all on one desk which is quite a big ask. Luckily, they are both very quick! “We have a carefully balanced stage wash and our house look for 85-90 percent of the acts. We try not to give many specific lighting cues as it detracts from the ‘audition’ format and we need to keep something in reserve as there needs to be an editorial progression from the auditions to the more structured look of the final shows. “As a general rule of television lighting, you never want to see a light source, which is both a blessing and a curse. You can hide fixtures, which is one reason why everything looks so glossy, but a theatrical back drape for example, presents a large empty black space on camera. I wanted a multi-cell fixture that could sit there twinkling in the background to give some animation and energy to the stage and fill some of that black space, which is where the Spiiders, X4 Bars and Fusion Sticks came in handy.” Bishop also subtly lights the audience to ensure their reactions can be seen on camera which he does using Source Four Lustrs. “This means I can keep the light very carefully off the judges at the front of the auditorium and the cameras by using the shutters, but it also means I can adjust the tint of the light to a low level of warm light so it feels like they are just lit by the glow of the stage lighting, rather than actually being directly lit (which they are).” A lot of effects lighting utilising the Spikies and more Fusion Sticks are also built into the back of the stalls, the circle and the upper circle for greater interest in the back of the shots whenever the camera looks into the auditorium. These Bishop also incorporates into dynamic lighting reactions to the Golden Buzzer or Red Buzzer moments so, to the TV audience, the whole experience looks totally immersive. Of course, Bishop also has the responsibility of making sure the four judges all look their very best “so we give their lighting a lot of attention.” Some more than others? “Let’s just say they are all very happy with what I do!” Bishop has enjoyed a long-standing relationship with Version 2 since the start of his career and says they are his first port of call for his television work. “One of the main reasons I like working with V2 is the people, I have a very good, long relationship with all of them, and my account handler, Simon Perrott, is just brilliant at solving problems. He takes anything I throw at him and makes it happen! “The V2 team take everything in their stride and I never feel that I’m on my own, which is very reassuring in live performance. And because of the volume of work I have to deal with, it’s essential that I can just fire things at them and know it will be taken care of. They also offer great support to my gaffer, Mark Newell, who takes my lighting design and actually makes it work! I feel they have my back covered at every stage.” Simon Perrott, Version 2 senior project manager, adds: “It’s been fantastic to be back working with Julie Burfoot and the team at Thames; it’s one of the enjoyableproductions we look out for in our calendar.As a household name, it’s an honour to be supporting Dave and his team on this flagship TV production.” photos: Courtesy of Thames/FreemantleNext >