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Von Nüssli realisierte Achtfach-Turnhalle in Monheim feiert Richtfest

27/02/2024

SWG returns to Mobos with Martin Audio WPL line array

26/02/2024

Thomas Cassetta chooses DPA Microphones for stand-up shows, documentaries and podcasts

26/02/2024

Version 2 supplies lighting for EE BAFTA Film Awards

26/02/2024

GrandMA3 for Hypersonic Fest

23/02/2024

Eighth Day Sound delivers audio solutions for Dizzee Rascal’s “Boy in da Corner” 20th anniversary tour

23/02/2024

Michael Fitz-Gerald chooses Tascam Portacapture X8 and X6 portable audio field recorders

21/02/2024

Over 100 Focusrite RedNet components employed by ATK Audiotek for Super Bowl LVIII coverage

19/02/2024

Elation Proteus chosen for light art piece at Valkea Light and Art Festival

16/02/2024

DiGiCo Quantum 225 upgrades “one man touring solution”

15/02/2024

Skan PA Hire supplies audio for The Chemical Brothers’ UK tour

14/02/2024

Bosch Dicentis supports IPC General Assembly in Bahrain

31/01/2024

Niklas Fuchs busks Lemo’s “Unplugged Tour” with ChamSys Stadium Connect

31/01/2024

Skan PA supplies audio solutions for PJ Harvey’s first UK/Euro tour in six years

26/01/2024

GrandMA3 running Maiden’s Tower installation in Istanbul

25/01/2024

GR Eventtechnik supplies Federal Government event with Coda Audio system

23/01/2024

Martin Audio takes active role in Japan’s first immersive outdoor music festival

22/01/2024

Chauvet fixtures chosen for Canadian “Hair” production

19/01/2024

Klang:Technologies immersive in-ear monitor mixing system used for “The Time Traveller’s Wife: The Musical”

18/01/2024

Gregor Hägele auf Tour mit GLP

16/01/2024

Vio-X-Serie von dBTechnologies bei Miljö-Mitsing-Konzert in Jülich im Einsatz

16/01/2024

Cohesion selected for Microsoft Ignite 2023

16/01/2024

Hard-Fi turn to DiGiCo for first UK tour in over a decade

15/01/2024

Maisie Peters on tour with DiGiCo consoles

10/01/2024

VNV Nation auf Tour mit Claypaky Volero Wave

04/01/2024

Von Nüssli realisierte Achtfach-Turnhalle in Monheim feiert Richtfest

Von Nüssli realisierte Achtfach-Turnhalle in Monheim feiert Richtfest
Von Nüssli realisierte Achtfach-Turnhalle in Monheim feiert Richtfest

Im Frühjahr 2023 startete der Totalunternehmer Nüssli mit dem Bau der ersten Achtfach-Sporthalle Europas in Monheim am Rhein. Nach weniger als einem Jahr Bauzeit feierten die Beteiligten des Pionierprojekts am 26. Februar 2024 das Richtfest. Die Sporthalle ist Teil eines Maßnahmenplans zur Neugestaltung des Schulzentrums Berliner Ring. Nach den Sommerferien 2024 soll die Halle fertiggestellt sein und für den Sportbetrieb zur Verfügung stehen.

 

Noch im Jahr 2023 wurden die aufgehenden Wände sowie die Stützen in Stahlbetonbauweise fertiggestellt. Der Bau des Nebengebäudes konnte vor Weihnachten abgeschlossen und am 8. Januar 2024 mit der Errichtung der Grundkonstruktion für das Sporthallendach begonnen werden. Derzeit werden die letzten der bis zu dreißig Meter langen Binder der Dachkonstruktion montiert. Damit ist die Errichtung des knapp neunzehn Meter hohen Baukörpers abgeschlossen. Nun folgen der Innenausbau und die Fassadenarbeiten.

 

Nüssli plante die Sporthalle mit möglichst vielen vorgefertigten Bauteilen. Allein aus Holz wurden rund 600 Elemente für Wände, Decken, Dach und Fassade vorgefertigt. Besondere Maßnahmen erforderten Stützen und Konstruktionen aus Stahl und Beton im unteren Bereich der Halle. Die zum Teil sehr schweren Elemente, Fertigteilstützen mit 18 Tonnen und Spannbetonbinder mit 41 Tonnen pro Stück, mussten mit Schwertransportern angeliefert und vor Ort mit einem Autokran mit bis zu 700 Tonnen Tragkraft abgesetzt werden.

 

Der Berliner Ring, über den die Bauteile angeliefert wurden, konnte nach zweiwöchiger Sperrung wieder befahren werden. Um die Bauzeit zu verkürzen, erfolgten Prozesse wie die Produktion der Wand- und Deckenelemente parallel zu den Rohbauarbeiten vor Ort. Die Zeiteinsparung der Fertigteilbauweise gegenüber der Massivbauweise beträgt etwa ein halbes Jahr.

 

Als erste in Europa bietet die neue Monheimer Sportanlage rund 4.400 Quadratmeter reine Sportfläche mit zwei Vierfach-Turnhallen im Unter- und Erdgeschoss sowie Sport- und Gymnastikräumen in den Obergeschossen. Weitere 3.000 Quadratmeter Fläche werden für Umkleiden, Technik und Erschließung genutzt. Alle acht Felder können je nach Bedarf einzeln genutzt oder pro Ebene miteinander zu zwei großen Vierfachhallen verbunden werden. Zusätzlich ist eine ausfahrbare Tribüne mit 500 Sitzplätzen im Untergeschoss und weiteren 100 Sitzplätzen im Erdgeschoss vorgesehen. Das gesamte Gebäude ist abgesenkt, sodass die untere Sporthalle mit der Teleskoptribüne fünf Meter unter dem Boden liegt.

 

(Fotos: Nüssli/Tim Kögler)

 

www.nussli.com

 

Von Nüssli realisierte Achtfach-Turnhalle in Monheim feiert RichtfestVon Nüssli realisierte Achtfach-Turnhalle in Monheim feiert Richtfest

SWG returns to Mobos with Martin Audio WPL line array

In a repeat of their deployment at Ovo Arena Wembley for the 25th Mobo Awards, SWG Events this time headed north with their Martin Audio WPL Line Array to the 12,500-capacity Utilita Arena in Sheffield for this year’s event.

 

The live performances ranged from UK rap to Afrobeats, Dancehall to Pop/R&B and Garage, with back-to-back performances from Soul II Soul, Ghetts, Sugababes, Cristale, Byron Messia, King Promise and Camidoh, plus a Garage set from DJ Spoony. The event was hosted by Babtunde Aleshe, Indiyah Polack and Zeze Mills.

 

It required SWG Events to increase the WPL box count from sixteen to eighteen elements for each of the main L/R hangs, compared with last time; but more significantly was the increased number of outhangs, comprising twelve-a-side WPC - all driven in 2-box resolution from iKon iK42s.

 

As with the previous Mobo Awards, which took place in November 2022, they chose an 18-box SXH218 sub array in end fire configuration, with three rows of six subwoofers delayed to a central point. “That works well in these arenas because you can achieve the broadside array coverage without intruding on the set design”, says Simon Purse, SWG Events’ Head of Audio. “It can sometimes be quite challenging with such a visually oriented set.”

 

To avoid interference with the LED screen the PA was trimmed at little higher than normal. Below, there was just a single stage but with a catwalk thrust on stage left, while on stage right there was a smaller thrust for the guest presenters. SWG Events turned their attention to the stage, providing a number of Martin Audio’s XE500 monitors for foldback and adding stage sidefills on each flank in the shape of Torus T1215 stacked on a pair of SXC118 cardioid subwoofers on each side.

 

Purse formed a tag team with freelance engineer Matt Pope, who handled system tech and alternated FOH duties. “Matt focused on the musical performance elements while I handled presenter mics and guests”, says Purse, adding “there were a lot of different intricacies, and the infrastructure behind the show was complex compared with a standard headline arena show.”

 

“We had our stage system, which was split to FOH and monitors, and another split to an OB truck, which was handling the live broadcast mix”, he continues. “Finally, there were further split heads to a TV truck that was dealing with the presenter microphones and presenter IEM units as well as a separate broadcast mix for presentation later in the week.”

 

Having received the CAD files from the venue, the SWG Head of Audio was able to plan ahead, arriving on site with all presets stored and ready to go. “For due diligence I then always take additional measurements”, says Purse. “You never know exactly what you will find so I was able to fine tune it and utilise the array snapshot feature to update my array optimisations.”

 

Crew included Will Fisher (monitors); Ian Williams (playback/comms); Phil Hughes (RF tech); Fraser Wilks, Sam Jones, Laura Evans (stage patch and general audio engineering); Mark Bott (SWG Operations Manager); and Henry Roper (SWG Production assistant. All worked under overall production manager Rob Smalldon of Marvellous Incorporated Ltd, as last year.

 

(Photos: Martin Audio/SWG Events)

 

www.martin-audio.com

 

Thomas Cassetta chooses DPA Microphones for stand-up shows, documentaries and podcasts

Thomas Cassetta chooses DPA Microphones for stand-up shows, documentaries and podcasts

Production sound and re-recording mixer Thomas Cassetta says he’s always loved live theater and events, so when presented with the opportunity to work on comedy specials back in 2014, he jumped at the chance. Cassetta has worked on projects around the globe for platforms such as Netflix, Amazon, Tubi, Peacock, HBO and ShowTime.

 

His most recent stand-up production work includes recording and mixing comedian Akaash Singh’s first hour-long comedy special, as well as Pete Davidson’s new Netflix special entitled “Pete Davidson: Turbo Fonzarelli”.

 

On his many projects, Cassetta uses solutions from Danish professional audio manufacturer DPA Microphones, such as the D:facto 4018VL Vocal, 4017B Shotgun, 4018C Supercardioid and 2011 Twin Diaphragm Cardioid Microphones, as well as the 4080 Cardioid Condenser Lavalier Microphone and the brand’s newest 2012 Compact Cardioid and 2017 Shotgun Microphones. A selection of DPA’s in-line preamps and accessories also allow him to adapt to a variety of venues and locations.

 

(Photos: DPA Microphones/Thomas Cassetta/Nathan Lindstrom/Lindstrom Photography LLC)

 

www.dpamicrophones.com

 

Thomas Cassetta chooses DPA Microphones for stand-up shows, documentaries and podcastsThomas Cassetta chooses DPA Microphones for stand-up shows, documentaries and podcasts

Version 2 supplies lighting for EE BAFTA Film Awards

Version 2 supplies lighting for EE BAFTA Film Awards

Hosted for the first time by David Tennant, the 2024 EE BAFTA Film Awards took place on February 18 at London’s Royal Festival Hall, and was broadcast internationally on BBC One, iPlayer and BritBox International. Attended by the President of BAFTA, HRH the Prince of Wales, twenty-five Awards were presented, voted for by over 7,500 BAFTA creatives and film industry practitioners.

 

TV, broadcast and event lighting specialist Version 2 was, for the first time, the official lighting supplier for the EE BAFTA Film Awards. Version 2 supplied lighting and manpower for the live Awards ceremony, artists performances and the traditional obituary tribute, as well as the audience lighting and the live event broadcast. Also involved in designing for the Awards for the first time were lighting director Tim Routledge of Tim Routledge Lighting Design, and set designer Julio Himede from Yellow Studio New York, in a partnership first formed for the Eurovision Song Contest in 2023.

 

“It’s a tricky show as you are only in the venue for a short time with a very short load in and load out”, explains Routledge. “The live show starts at 6 p.m. and is broadcast as live on television around 8 p.m., so there is a super-quick turnaround to get it out that night with editing happening on the fly.”

 

The centrepiece of Himede’s set design was a series of outlines of the BAFTA Award mask, arranged in a circular fashion and backed by a large, semi-circular gauze around the back of the stage. The show was lit using a mix of the Royal Festival Hall’s house rig and lighting from Version 2. “We used 310 x 1 m long Martin VDO Sceptron 10s rigged vertically behind the sculptural set piece, back-lighting the semi-circular gauze to add a load of sparkle and give the appearance of a giant zoetrope”, says Routledge. “This involved a lot of work in the framework and the rigging of all those Sceptrons overnight.”

 

Version 2 chose gaffer Sam Healey, who has a track record working on the BAFTAs and with Routledge, to keep everything on track. “We were able to collect the truss for the Sceptron in advance and spent a good couple of days pre-rigging them onto the framework, labelling and patching them so we were able to install it all within the short timeframe”, says Healey.

 

With the central set piece predominantly washed in reds, blues and golds, the Sceptrons provided a twinkly backdrop behind the presenters. This changed to more vibrant, dynamic effects and content for Sophie Ellis-Bextor’s performance of “Murder on the Dancefloor”, with more sparkles added for comedian Nick Mohammed’s appearance. The mood was later transformed to a serene, ethereal monochrome during Hannah Waddingham’s rendition of “Time After Time” as BAFTA paid tribute to artists who had passed away this year.

 

Version 2 supplied Robe Forte fixtures for Routledge’s key lighting on the performers and presenters, with more Robe Forte units, in conjunction with a Robe Robospot system, as follow spots. Martin Mac Aura XBs were rigged on the front truss and bridges, and more Mac Auras on the floor upstage by the drape. A half circle of Robe Megapointes were rigged around the curved onstage truss completed the onstage lighting inventory, while Astera Pixelbricks were rigged on stage facing outwards to light the audience. Version 2 drafted in freelancers Tom Young as operator for the moving lights and Seb Williams for the key lights. 

 

“The Royal Festival Hall is a tricky place to light because, not being a particularly modern venue, there’s not many rigging positions”, says Routledge. “It’s a modern-looking show however so, for the first time this year, we added in more lighting features around the room, on the balcony fronts and down the walls to make it pop more on camera than in the past.” To add definition and interest to the room, Routledge mounted 2 m Astera Hyperion tubes horizontally on the front of the auditorium boxes. He also added Robe LED Beam 150 fixtures to the back wall of the stalls and dress circle for eye candy effects during the walk downs.

 

Also on Version 2’s kit list for the EE BAFTA Film Awards 2024 were Astera HydraPanel, Litepanels Gemini 2x1 Soft Panel, Fomex FL-1200 2x1, Fomex FL-600 1x1, and Prolights Smart BatPlus. V2 Project Manager was Nick Edwards.

 

(Photo: Richard Murgatroyd Photography/BAFTA)

 

www.v2lights.co.uk

 

GrandMA3 for Hypersonic Fest

GrandMA3 for Hypersonic Fest
GrandMA3 for Hypersonic Fest

Hypersonic Fest was a one-day experimental event organized by Hypersonic Lab in Hong Kong, aimed at inviting people to enjoy the talents of 37 diverse Christian artists and music bands from Hong Kong, Taiwan, South Korea, Japan, and Malaysia. The festival was staged at Kowloon Bay International Trade & Exhibition Centre and featured four stages of live music performance.

 

Production equipment for the Main Stage including lighting was supplied by the MPHK Group and project managed by Raymond Wong, working closely with LD Kei Lui who utilized a GrandMA3 full-size console, a decision taken jointly between the LD and Wong. Lui is based in Macau and is technical manager of the Para Club, as well as running his own company in Hong Kong/Macau for freelance lighting design projects like this. He has been a GrandMA user for many years including in the club, having recently switched to GrandMA3.

 

His task at Hypersonic Fest was to light all the bands on the Main Stage, many of whom he was seeing live for the first time, and make each one look different. This had to be achieved in a compressed timescale of four hours for get in, set up, prep and programming. Lui had 43 moving lights in the space on overhead trusses with around 1200 parameters of control.

 

(Photos: Hypersonic Fest)

 

www.malighting.com

 

Eighth Day Sound delivers audio solutions for Dizzee Rascal’s “Boy in da Corner” 20th anniversary tour

Eighth Day Sound delivers audio solutions for Dizzee Rascal’s “Boy in da Corner” 20th anniversary tour
Eighth Day Sound delivers audio solutions for Dizzee Rascal’s “Boy in da Corner” 20th anniversary tour

Eighth Day Sound was the vendor for British grime MC and rapper Dizzee Rascal’s recent UK tour which hit several arenas following a major comeback at London’s O2. Choosing Eighth Day Sound and mixing Rascal’s hard-hitting yet melodic blend of London hip hop, is FOH Engineer Wayne “Rabbit” Sargeant, who has navigated the artist’s live work on and off the road.

 

“Over the years, I’ve mastered some of Dizzee’s earlier album live tracks. So, my aim here was to bring consistency to the overall range of tracks spanning the 20th anniversary”, he explains. Sargeant has a Solid State Logic Live 100 for the main mix, while the DJ setup is processed through a Solid State Logic Fusion to add some weight and tame the high frequency, allowing the D&B Audiotechnik KSL PA system to sound vast at a lower level.

 

Rascal’s vocals are processed with an Empirical Labs EL8 Distressor. “I also add a very short reverb from a Bricasti M7 to soften and help sit the vocal”, says Sargeant. “The vocals are also sent to a stem, which is used as a side chain into the master bus multi-band compressor. It dips the mid-range pocket for the vocals to sit in the master mix, with the final mix going to the SSL Bus+.”

 

The team were met with some acoustically challenging venues, and with that in mind, asked Eighth Day Sound to supply a D&B KSL rig. “From tailoring the PA system and making it work for our needs and our budget, Eighth Day provided a truly great service”, says Sargeant who credits Systems Engineer Eddie O’Brien with developing a “perfect outcome”.

 

Monitor Engineer Edd Slaney was charged with both monitor duties and the DJ set-up, inadvertently assuming the role of show caller. “For that reason, I’ve always asked for great techs to come with my kit”, he explains. “I need a second set of eyes with me while I’ve got my head in one system or another. Liam Halpin looked after me for this run and was awesome as always.”

 

Rascals’s monitoring preference is the Shure PSM1000 IEMs with D&B M2 wedges, alongside Sennheiser 6000 Series RF mics, and Slaney’s desk of choice is a DiGiCo SD5. “This show requires much more than our normal festival set-up in terms of comms and matrix requirements”, he says. “The mixes for the performers on stage aren’t overly complex, so I’m able to use Dizzee’s tours to try out combinations of kit to establish what I do and don’t like.”

 

Tommy Sheals-Barrett of Back On Your Heads was the Production Manager on this tour.

 

(Photos: @lili_takesflickis)

 

www.8thdaysound.com

www.clairglobal.com

 

Michael Fitz-Gerald chooses Tascam Portacapture X8 and X6 portable audio field recorders

Michael Fitz-Gerald chooses Tascam Portacapture X8 and X6 portable audio field recorders

Michael Fitz-Gerald, founder of Fitzaey LLC, uses Tascam Portacapture X8 and Portacapture X6 portable audio field recorders to help his clients create podcasts and related social media endeavors. In addition to his social media activities, Fitz-Gerald also captures audio for a variety of live events such as weddings and various performances.

 

He discusses one of his favorite Portacapture features: “Each line can be captured as a separate 32-bit audio file. This makes it easy to quickly grab a file and make whatever adjustments to it that I deem necessary. Depending upon the nature of the project, I can use the AUX inputs with an XLR cable and add wireless mics to the feed.”

 

“When I run livestreams”, he adds, “I can connect either the X8 or the X6 via USB-C to my MacBook and run OBS (Open Broadcaster Software). Doing so will provide me with a perfect audio signal with all the limiters and effects already applied to avoid clipping. I can run the Portacapture via USB power, so I needn’t worry about loss of battery power.”

 

“The Portacapture X8 has a wide range of ports that makes it easy to interconnect the recorder with other gear”, he continues. “This, coupled with the fact that it records each line separately and still provides a mix makes the Portacapture really flexible in terms of any editing that may be required. The fact that both the Portacapture X8 and X6 record using 96 kHz, 32-bit float recording is another benefit.”

 

Giving more details, he says: “This feature provides high quality audio that can be a complement to video and other aspects of any broadcast-type project. Coupled with XLR inputs and dual built-in mics with switchable AB/true-XY patterns plus USB and AUX inputs, the recorder can handle most any type of input you encounter. The Portacapture is one compact, highly portable device that enables me to be prepared for just about anything.”

 

“I should also point out that I routinely run into multiple scenarios where I need to make sure the environmental noise will not ruin the recording”, Fitz-Gerald concludes. “For such situations, the noise gate has helped me a lot.”

 

(Photo: Fitzaey/Tascam)

 

www.fitzaey.com

www.tascam.com

 

Over 100 Focusrite RedNet components employed by ATK Audiotek for Super Bowl LVIII coverage

Over 100 Focusrite RedNet components employed by ATK Audiotek for Super Bowl LVIII coverage

At this year’s Super Bowl LVIII - held on February 11, 2024, at Allegiant Stadium in Las Vegas - ATK Audiotek, the live-sound provider for the Super Bowl for the past twenty-seven consecutive years, had an all-digital audio signal path thanks to an extensive Dante networked audio infrastructure featuring components from Focusrite’s RedNet range of Dante-networked audio converters and interfaces.

 

“This is our ninth year using Focusrite RedNet with our Dante Audio-over IP network at the Super Bowl”, states Kirk Powell, engineer-in-charge for ATK/Clair Global at Super Bowl LVIII. “This year we were employing over 100 RedNet units, which is the largest Focusrite setup used on a Super Bowl to date.”

 

ATK was responsible for all the audio in the stadium, including the pre-game performances that featured Reba McEntire (who performed the national anthem), Post Malone and Andra Day; the halftime show with Usher and special guests Alicia Keys, H.E.R., Jermaine Dupri, Ludacris, Lil Jon, Will.i.am; and announcements throughout the game to the fans at Allegiant Stadium.

 

“Each year the Super Bowl presents an immense logistical hurdle which involves handling a multitude of diverse audio sources and routing them to various destinations”, says Powell. “Utilising Focusrite RedNet components is indispensable for our operations, as they provide the connectivity and versatility necessary for us to execute our tasks effectively.”

 

ATK Audiotek’s Focusrite gear setup for Super Bowl LVIII included twenty-five RedNet D16R MkII 16-channel AES3 I/Os; thirty-five RedNet A16R MkII 16-channel analogue I/O interfaces; twenty-five RedNet D64R 64-channel MADI bridges; twelve RedNet MP8R 8-channel remote-controlled mic pre with dual PSUs; and eight RedNet AM2 stereo audio monitoring units, for a grand total of 105 RedNet units.

 

During Super Bowl LVIII, A16R units facilitated connectivity across diverse interfaces managed by the venue and other parties, while D16R units linked with amplifiers. RedNet D64R MADI bridges were utilised to connect with consoles and broadcast trucks. The RedNet D64R combines a generous channel capacity with the capability to convert sample rates across different audio systems at a multitrack level, ensuring seamless inter-system audio transfer and sharing without relying on a common master reference clock.

 

According to Powell, while the FOH and stage monitors could synchronise to the same clock, there was a distinction with the production truck. “The production truck operates on a separate clock since they’re not in use all day”, he elaborates. “The D64R enables me to separate the clock between my system and the production truck, especially as they wrap up after halftime. As they begin to dismantle, I prefer not to be synchronised to their clock to avoid any premature shutdowns. We are also using the D16Rs and A16Rs because we’re doing analogue backup as the interface for the system’s amplifiers.”

 

When asked what the most challenging aspect was of designing and installing the audio system for Super Bowl LVIII, Powell doesn’t have to think twice: “Flying the P.A.”, he says. “Allegiant Stadium’s ceiling structure is cable-based, just like SoFi Stadium, which restricts options for placing clusters and similar components due to weight restrictions and rigging points.”

 

He further notes, “Managing rigging and cables presented challenges, as did determining optimal amplifier placement. We had to compromise on a few positions, but the system worked out really well. Also, with renowned mixers Dave Natale and Alex Guessard handling FOH duties, the audio for the performances sounded great.”

 

(Photos: ATK Audiotek/Clair Global/Focusrite)

 

www.clairglobal.com

www.focusrite.com

 

Elation Proteus chosen for light art piece at Valkea Light and Art Festival

In December 2023, Särkänniemi Theme Park in Tampere, Finland, hosted the inaugural Valkea Light and Art Festival, filling the park with a myriad of visual spectacles, one of which featured lighting effects from Elation’s Proteus Hybrid IP65 moving head. The event transformed the park into an immersive art realm, engaging the senses with visual art installations, incorporating light, art, music, and live performances.

 

Leading the creative direction and production of the festival was Finnish artist Kari Kola. He was particularly drawn to “Step Into the Light”, a light art piece by artist/designer Michel Suk from 2017, and sought to reimagine it for Valkea. Suk, a Dutch light technician and artist with a background in lighting for theater, television, and musical performances, draws inspiration from architecture and music in his work. Describing “Step Into the Light” as a ballet of light visible from a distance, Suk’s creation is characterized by patterns of beams, reminiscent of a spirograph, with influences from Pink Floyd’s iconic vertical circle truss.

 

For the Valkea Festival, Suk adapted “Step Into the Light”, utilizing 24 Proteus Hybrid moving heads from Elation mounted atop vertical towers in a circular arrangement. The lights were mounted at an even distance from each other and had to be exactly perpendicular to the ground, otherwise there were offsets.

 

“It’s a simple concept in a way but if it’s not calibrated correctly, it doesn’t work and just looks like lights moving”, says Suk. “If it’s calibrated correctly the result is beautiful patterns that look like the old spirograph game. You have all the lights pointing directly at a point in the center, then you can aim at a point slightly higher to get floors of crosspoints. There are lots of possibilities.”

 

Suk collaborated with designer and international event producer Bas Kemper on the project, who executed the setup and calibration, working in -20°C weather. “Step Into the Light” invited visitors to immerse themselves in an interplay of living spotlights, offering a visual experience that captivated both up close and from a distance.

 

(Photos: Rami Saarikorpi)

 

www.elationlighting.com

 

DiGiCo Quantum 225 upgrades “one man touring solution”

Sound engineer Karel Marynissen’s touring company Klaar Voor Opname - based in Ghent, Belgium - was established in 2004. The DiGiCo SD8-24 had always been the console of choice for Marynissen, but when the time came to replace it, he chose the DiGiCo Quantum 225. Belgian audio systems provider Amptec ensured that the entire system was up to high specification of his mixing console.

 

Predominately working alone this “one man touring solution”, Marynissen specialises in amplifying acoustic instruments for jazz and classical music. “We knew that Karel’s next logical step from the SD8-24 would be the Quantum 225”, says Amptec’s David Liebens. The upgrade also brought access to the DiGiCo Quantum Spice Rack and Nodal Processing.

 

Marynissen mixes FOH and monitors from his console, as well as managing the performers’ IEMs. The Nodal Processing makes this more streamlined, and the Spice Rack reduces his reliance on additional outboard effects units. “We had to figure out how to reduce the amount and size of the set up so that one man could load in and out from a small van”, recalls Liebens. “The real challenge was cabling - how could we reduce the multiple signal lines into a manageable package?” The answer came in the form of the Festival Box from Optocore.

 

Using the Festival Box meant that the FOH cabling could be reduced to a single rugged fibre cable running between two purpose built flight cases. The ruggedized Fibreco 4ch expanded beam connection enabled six MADI lines (3 in/3 out) and three 1G network lines to be patchable via the custom panels from Amptec Connx, enabling the system to be fully adaptable to any performance. Amptec Connex designed two cases, one for the SD rack and one FOH. Both of these have been built so that the Festival Box connections are patchable and integrated with the rest of the system.

 

“The new setup brings significant time savings during setup and teardown, and I have the flexibility to adjust the setup according to the needs of the day, thanks to the patching capabilities”, says Marynissen. “Having a computer and screen integrated into the console flight case means I no longer need to build and dismantle it separately.”

 

(Photos: Peter Fizgal/Watchkraft)

 

www.digico.biz

 

Skan PA Hire supplies audio for The Chemical Brothers’ UK tour

British electronic music duo The Chemical Brothers recently visited UK arenas in support of their new album “For That Beautiful Feeling”. Production Manager Toby Dennis and Tour Manager James Baseley chose Skan PA Hire as the tour’s vendor.

 

Audio engineers Shan Hira (FOH) and Ian Barton (Monitors) are both using Midas XL4 analogue mixing desks. For Hira, it’s a console he’s grown to know intuitively over the twenty-four years he’s been bringing the Chems’ sounds to live audiences. “It’s an absolute pleasure to mix FOH for The Chemical Brothers”, he says. “They have written so many great songs and their live interpretation of these songs turns the show into an amazing audio-visual experience, which is always a privilege to be involved in.”

 

“My objective with their shows is to present their songs in the best possible light”, he continues. “The mix from the stage is different for every show, so the same thing does not necessarily happen at the same time each night. I track what the band is doing and use the options in my FX racks to enhance what I am getting from the stage. After all these years, there is a lot of trust within that, so they leave me to do what I think is the right thing.”

 

Hira specified a selection of gear across three racks. Housing both classic and retro units, the dynamic rack includes XTA C2 Compressors, XTA D2 Compressors, XTAS Graphic EQ and a Waves Maxx BCL Mastering Limiter/Compressor. “For the two effects racks, there are some units from Skan, the band owns some, and I’ve brought some of my own too”, he explains. “I have an Eventide H7600 Ultra Harmonizer Effects System, Deltalab Timeline 2048, Lexicon PCM 70 Digital Effects Processor, vintage Korg SDE 3000 Digital Delay, Electrospace Spanner surround panner, Line 6 Filter, Lexicon 480 for digital reverb, Roland SRE 555 Chorus Echo, MXR Digital Delay System 2, MXR Pitch Transposer, MXR Flanger, Bel Flanger, Boss Re 20 and a Boss Re 202.”

 

The PA system is D&B Audiotechnik; GSL for main hangs, KSL for side and rear hangs, flown J Subs, stacked SL-Subs and V10p for front fills. On stage, side fills comprise boxes of KSL with SL-Subs, rave fills of V12 tops and V-Subs used by the production team. There is also a scattering of M2 wedges and B6 Subs on stage.

 

Monitor Engineer Ian Barton explains that a lot of fine-tuning goes into his monitor mixes in his “triangle of trust” between himself, Hira and Chemical Brothers’ Tom Rowlands. “I’ve got Ed (Simons) who plays different synths, and some satellite speakers dotted around the stage, so I overlay whatever the sound is”, he says. “There are twenty-four analogue keyboards running at any one time, but mixing it is completely second nature at this point.” Barton also has Lab.gruppen amplification on his own L-Acoustics speakers - two ARCs, two dVSubs, two 108s and four 108Ps.

 

Hira and Barton worked closely with Skan’s Scott Essen - the Audio Crew Chief and System Designer has been working with this team for years.

 

(Photos: Ray Baseley/Skan PA Hire)

 

www.skanpa.co.uk

 

Bosch Dicentis supports IPC General Assembly in Bahrain

Bosch Dicentis supports IPC General Assembly in Bahrain
Bosch Dicentis supports IPC General Assembly in Bahrain

A Dicentis conference system from Bosch was selected by the organizers of the recent International Paralympic Committee (IPC) General Assembly and Conference which took place in Manama, Bahrain, at the end of September 2023. The event saw participation from more than 350 attendees from different National Paralympic Committees, International Federations, Regional Organizations and International Organizations of Sport for the Disabled.

 

The Dicentis system comprised 201 delegate devices, including eight multimedia devices, seven discussion devices with voting and 186 discussion devices with touchscreen. The conferencing solution for the event was provided by local Bosch partner Mohammed Fakhroo & Brothers W.L.L. The Dicentis discussion device with voting was specifically chosen for the General Meeting because of its accessible options for visually impaired participants. The orientation sheet as an optional accessory added clearly noticeable braille cells to help distinguish between the different voting buttons. Added to this, audible feedback from the device helped to facilitate voting - when a participant casts a vote, a beep sounds in their headphones to confirm the action.

 

To further aid communication at the event, interpreter booths ensured that delegates could select between six languages to hear proceedings clearly. Ahead of the General Assembly, the IPC also hosted two days of board-level meetings in the Bahraini capital. These meetings relied on a CCS 1000 D digital discussion system. The conference required a large amount of customization in preparing the agenda and the synoptic view showing the voting results. This was achieved using the software from Bosch IPP Partner MVI AudioVisual Global B.V.

 

“There were a lot of extended requirements from the customer, which included a touch display for the president of the IPC to enable and disable microphones, voting grid showing individual country/organization’s name and their selection, a separate display for the president to show the queue and active speakers, a display of results for scrutineers which once verified was passed to the president to display on the main screen and many more”, says Varun Raj Khanna, Technical Manager at Mohammed Fakhroo & Brothers W.L.L.

 

(Photos: Bosch/IPC)

 

www.bosch.com

 

Bosch Dicentis supports IPC General Assembly in BahrainBosch Dicentis supports IPC General Assembly in Bahrain

Niklas Fuchs busks Lemo’s “Unplugged Tour” with ChamSys Stadium Connect

Niklas Fuchs busks Lemo’s “Unplugged Tour” with ChamSys Stadium Connect
Niklas Fuchs busks Lemo’s “Unplugged Tour” with ChamSys Stadium Connect

Lemo may be one of the most popular Austrian performers today, but at heart, says lighting designer Niklas Fuchs, he is more like “the friendly musician from next door”. This is reflected in the musician’s “Unplugged Tour”, which has a set that looks like a living room.

 

“On this tour, Lemo wanted the audience to feel like they are visiting him at home listening to his songs from the couch”, explains Fuchs. “So, the design basically consisted of a whole lot of carpets on stage, standard E27 LED Bulbs, and some living room luminaires that we literally bought on the way to the first show. It created a special atmosphere.”

 

Filling in on the tour for Lemo’s usual lighting designer Bernhard Endl, Fuchs accented this welcoming mood with a warm, inviting light show. Position in a vertical configuration over the stage, his rig focused attention on the artist while contributing to the homey atmosphere. He used different parts of his rig at different points in the show, to create more varied and moving looks.

 

“Over time I learned the power of not using the whole rig in certain situations”, says Fuchs. “This really opens up a whole new set of possibilities. It gets a lot easier to create drama, big contrasts and always keep some element of surprise throughout the show. Also, stages can look a lot bigger when there is just one well-focused spot on the singer.”

 

Fuchs ran his show on his new MagicQ Stadium Connect and busked the entire time. “I didn’t do any preprogramming or anything in this case”, he shares. “I just used my busking show file for the whole tour, creating the show in the newest Beta Version of the Stadium Connect, currently running on 1.9.5.3.”

 

“I programmed my busking file especially to suit the layout of the Stadium Connect”, he continues. “I am just using two pages. On page one I have all my group masters - the important ones on the faders, the less important ones on the encoder knobs. Then on page two, I have a total of 42 directly accessible playbacks. Ten Faders, ten Executors on Pause Buttons, ten Executors on Play Buttons, ten Playbacks on Encoders and Flash Buttons, and two crossfaders that are also programmable.”

 

(Photos: ChamSys)

 

www.chamsysusa.com

 

Niklas Fuchs busks Lemo’s “Unplugged Tour” with ChamSys Stadium ConnectNiklas Fuchs busks Lemo’s “Unplugged Tour” with ChamSys Stadium Connect

Skan PA supplies audio solutions for PJ Harvey’s first UK/Euro tour in six years

Skan PA supplies audio solutions for PJ Harvey’s first UK/Euro tour in six years

Playing live in support of her tenth studio album, “I Inside the Old Year Dying”, avant-rock artist PJ Harvey played a string of sold-out dates at carefully chosen venues. Her engineers required audio solutions from supplier Skan PA Hire.

 

Monitor Engineer Magali Couturier has been with PJ Harvey for some years now, and has exact expectations from her vendor. “I first met (Skan Director) Chris Fitch at Glastonbury in the ‘90s, it was the first time I’d seen a ‘boss’ that was so ‘hands-on’”, she says. “He understands what we go through as engineers, which is why I think he also understands the type of audio tech we need for PJ’s tours.” Couturier also acknowledges the help she received from Skan’s Finlay Watt.

 

In terms of her mix, Couturier defines her work as creating a “delicate balance”, that is as close to the recordings as possible. “Polly has a lot of effects that change from song to song, so it can be very complex to mix”, she says. “It’s not like you make a sound, and that works for the whole show. It can go from atmospheric to something very rocky or folky.”

 

“And that balance may change from venue to venue too, where a small detail may bring a song to life or to sleep”, continues Couturier. “This gig is extremely rewarding as a monitor engineer, you really become a part of the performance and the creative, live process. Working with musicians like those we have in her band is why I do this job.”

 

Couturier has been working on some major changes since the previous tour; Harvey and her band now use Sennheiser 2000 Series IEMs, with Ultimate Ears UE11s. “The 10-piece band used to be on wedges and has now switched to in-ear monitors”, she explains. “The reason for this is that the stage would look better, there wouldn’t be black boxes scattered around and the musicians would be freer to move around.”

 

“The transition was an interesting journey, given the type of music they play and that none of them had used IEMs before”, she adds. “It’s quite unorthodox - none of them use in-ears in the same way. Polly wants to hear the record, so my aim with her mix is to make it as close to her records as possible.” She does so via a Yamaha PM7 with an RPIO Stage Rack, another new equipment choice for this campaign.

 

Engineer Rik Dowding was caretaking for long-time FOH Mixer Howard “Head” Bullivant, who has worked with PJ since her early demo days. “Head very kindly asked me to fill in on this tour, which is an absolute honour”, he says. Dowding was originally going to mix these shows on an analogue classic, the Midas H3000, as per Bullivant’s rider. “Gradually, I was getting reports from Magali about the channel count, which was rising. Eventually, we had 48 channels, and I couldn’t do that on an analogue desk and put all my effects in there too, so we made the decision to go with a DiGiCo console.”

 

From Skan’s inventory, Dowding has opted for an SD10 with 32 Bit SD Rack on stage and an SD Mini at FOH to connect the outboard. The band were initially worried about losing warmth with the switch from an analogue console, so Dowding specified some tube-based outboard. For outboard, he employed a Transient Designer TD4, Tube-Tech LCA-2B, Summit DCL-200, Summit TLA-100, Rupert Neve Portico II Master Buss Compressor and an Empirical Labs EL8-X Distressor from Skan, along with FX including an Eventide H3000, Bricasti M7 Reverb, Yamaha SPX2000 and Lake LM 44 for system EQ. He also utilises some of his own favourite units such as the Rupert Neve 5045 Primary Source Enhancer 5045, a Roland RE-20 Space Echo Pedal and an Empirical Labs EL7 Fatso Jr.

 

He furthers: “Guitarist John Parrish utilises a very particular set of sounds that not many people tend to use, so for his guitars, I use the Tube-Tech LCA-2B stereo tube compressor. The drums are going through amplifiers and are sent to a buss where the Fatso is applied, adding a harmonic saturation, and fattening up the sound.”

 

According to Dowding, PJ Harvey is very involved in the live mix process, sending notes on reverbs and delays that are specific to each song. He continues: “Polly’s microphone of choice is a Sennheiser MD 431. She uses that with the Rupert Neve 5045 ‘feedback destroyer’. The 5045 goes into the EL8-X Distressor.”

 

Harvey’s 26-date theatrical masterpiece played to audiences in venues across eleven countries. The tour was led by Production Manager Tecwyn Beint, who says he is looking forward to working with Chris Fitch and his team again very soon.

 

Pictured: Skan Tech Finlay Watt (left) with Production Manager Tecwyn Beint; Monitor Engineer Magali Couturier; FOH Engineer Rik Dowding. (Photos: Skan PA Hire)

 

www.skanpa.co.uk

 

Skan PA supplies audio solutions for PJ Harvey’s first UK/Euro tour in six yearsSkan PA supplies audio solutions for PJ Harvey’s first UK/Euro tour in six years

GrandMA3 running Maiden’s Tower installation in Istanbul

GrandMA3 running Maiden’s Tower installation in Istanbul

Lighting designer Martin Kuhn used a GrandMA3 replay unit to run a permanent show that he designed for Istanbul’s iconic Maiden’s Tower. The landmark stands on a tiny islet at the southern entrance of the Bosphorus strait, 300 metres from the coast of Üsküdar in Istanbul, Turkey, and has recently re-opened after restoration.

 

Kuhn was working for Istanbul AV specialist Astel and end client, the Turkish Ministry of Culture and Tourism. The lighting includes 48 x Ayrton Cobra moving lights which are positioned around the perimeter of the lower sea wall in protective cabinets that open when the show starts, and a selection of 76 x Anolis Eminere and Calumma fixtures illuminating the various architectural elements, together with 27 x SGM P2s and P6 LED floods.

 

The lights are connected via six GrandMA3 2Port Nodes and two MA Network Switches, and the show was programmed on and offsite on a GrandMA3 light console by Martin Kuhn and Marc Marlo Schelesnow. Once they had completed all the finessing, the showfile was transferred to the GrandMA3 replay unit.

 

Kuhn researched the history of Maiden’s Tower and its role in Istanbul’s culture and heritage as he wanted to deliver a meaningful and educative lightshow that represented its significance and importance to the city. He collaborated with Turkish author Ayse Kulin, who storyboarded a narrative from which Kuhn, via Depence 3 software, produced a 3-minute video showcase for the client to pitch his lightshow ideas.

 

After winning the job, he commissioned musicians and translators for the 8-minute narrative and musical piece, and then designed, specified, and programmed the lighting and visual elements. In the show, Maiden’s Tower is a female character so the lighting is both powerful and subtle with soft transitions that correspond to the music and narrative which people can tune in and listen to in various languages via a special web application.

 

Kuhn describes the programming process as “very similar” to that of a theatrical show, needing a high degree of detail and lots of drama. He chose GrandMA3 because he wanted a replay unit that was “future proof”. “I didn’t want to have to re-programme it in a couple of years, so this was the right decision to make”, he says. Kuhn has also been contracted for the first three years of the new installation to keep the show updated and provide special shows for occasions like Independence Day or New Year’s Eve.

 

Programmer Marc Marlo Schelesnow underwent a one-on-one GrandMA3 course beforehand to get acquainted with GrandMA3 as it was also his first time using an all-GrandMA3 system, although he’s been an avid GrandMA2 user for some time. The basic building blocks of the show were first programmed in a studio using Depence 3, then transferred to the GrandMA3 light console on site for them to finish the task before finally storing it on the GrandMA3 replay unit.

 

The Maiden’s Tower lightshow is triggered by an external Q-Sys system that connects the various parts of the show, one of them being the Galata Tower on the opposite side of the Bosphorus, featuring a 70-Watt laser. The two towers interact as their lasers create a visual “bridge” across the water for the finale. There are eighteen lasers in the show in total, eight projecting onto the sides of Maiden’s Tower which are concealed in compartments around the sea wall, similar to the Cobras.

 

One laser is mounted on a hydraulic lift that elevates to the correct level for delivering show graphics onto the Tower wall after the cabinets are opened. Eight 50-Watt lasers are positioned on top of the roof shooting 360-degree beams around the harbour, plus the 70-Watt unit that connects with the Galata Tower. The lighting supply and installation - including the GrandMA3 elements - was completed by Asimetrik, which is the MA Lighting distributor in Turkey, with laser control and programming courtesy of Laserfabrik from Cologne.

 

Audiences can see and experience the Maiden’s Tower lightshow from Istanbul’s shores, or by boat from both the European and Asian parts of the city.

 

(Photo: Amanda Holmes)

 

www.malighting.com

 

GR Eventtechnik supplies Federal Government event with Coda Audio system

GR Eventtechnik supplies Federal Government event with Coda Audio system

The German Federal Government’s Digital Summit 2023 took place November last year in the city of Jena. Around 1000 participants from the worlds of business, science and politics got together to discuss issues surrounding digital transformation in the new era. The technical production was handled by Quickborn-based GR Eventtechnik who chose Coda Audio for sound reinforcement. The stage design was created by Facts and Fiction GmbH.

 

Steffan Grimm, Co-Managing Director at GR Eventtechnik, outlines the brief: “The event, which took place in the Ernst Abbe Hall in the Volkshaus, Jena, required maximum speech intelligibility. Another important factor to be considered was that the visual axes to the stage could not be compromised. Also, the stage area was to be as clean as possible - placing speakers on or near the stage was not desirable.” Grimm chose a system based on Coda Audio’s TiRay line array.

 

“We carried out the necessary calculations using Coda Audio’s System Optimiser prediction software and designed a system that would deliver complete, precise coverage without any compromise of sight lines”, says Grimm who determined a main hang consisting of left and right arrays of six TiRay each, a centre hang of three TiRay and a sub-array comprising six G15-Sub in a sub arc configuration (with a distance of 90 cm from each other).

 

Four Hops5 (flown on the projection truss) were used as the delay line, eight D5-Cube took care of the near field area and four Hops5 took care of the stage monitoring (“as a shower in the PA truss”). Amplification was delivered by three Linus14D (played via the in-house Dante network) and two Linus14D (behind the stage for subwoofer and near-field speakers).

 

(Photos: Coda Audio/GR Eventtechnik)

 

www.codaaudio.com

 

GR Eventtechnik supplies Federal Government event with Coda Audio systemGR Eventtechnik supplies Federal Government event with Coda Audio system

Martin Audio takes active role in Japan’s first immersive outdoor music festival

Hoshioto Camp 23, which took place recently at Budou Romankan in the Japanese Prefecture of Okayama, became the first outdoor music festival in Japan to introduce immersive sound. Therefore, local sound rental company Bright Co. Ltd., who had originally invested in Martin Audio’s WPC system back in 2020, upgraded the event’s main speaker system.

 

WPC was recommended as the overall fit, after evaluation against other systems. Kazuyuki Oshita, president of Bright Co. Ltd., says that one of the reasons why he recommended the system to the organisers was its ability to deliver consistency of sound across the area, and to mitigate against noise pollution by being able to contain the energy within the sound field, due to Martin Audio’s proprietary Display control software.

 

The sixteen principal WPC boxes were powered by Martin Audio’s multi-channel iK42 amplifiers, and to create the full immersion an end-to-end Martin Audio solution was specified, including eight XD15, four SX218 subwoofers, six XP12 and various XE300, and Adorn A55 enclosures.

 

Various other local rental suppliers, introduced to the main contractors by Martin Audio Japan, also tapped into their inventories to complete the complement required, which also included Spat Revolution processing. These included Super 4, Music Reserve, Freeway and Network Papa.

 

(Photos: Martin Audio/Bright Co. Ltd.)

 

www.martin-audio.com

 

Chauvet fixtures chosen for Canadian “Hair” production

Lighting designer Julie Basse and her colleagues, including director Serge Denoncourt, just concluded a two-month run of the musical “Hair” in Montreal and Quebec, Canada. The set allowed them to hide ninety Chauvet Professional moving fixtures in their LSM-Ambiocreateur supplied rig.

 

At the center of this set were several high scaffolding towers imagined by set designer Guillaume Lord. Contributing to the authenticity of the scene, the rig’s 17 Maverick Force 3 Profile and 29 Maverick Force 1 Spot fixtures were hidden by borders in the overhead truss.

 

“The scaffolding towers looked as if the venue had been in construction for months and have been squatted by a group of hippies in 1968”, says Basse. “As the show takes place in 1968, from a realistic point of view, we were not supposed to have moving lights, so we decided to hide them. For this reason, my overhead truss trim was quite high (28’).” Moving fixtures that were not hidden high up in the truss scaffolding were kept from view in other ways. For example, Basse placed her 42 Rogue Outcast BeamWashes on boom truss far behind the set.

 

Basse did keep one type of fixtures visible in the set’s scaffolding: her 42 Colorado PXL Bar 16s, using them to be evocative of the old school ramp lamps that were available during the play’s era. She also positioned her 30 Ovation E-260CW ellipsoidals at a very low trim on each side of the proscenium to light the actors, so audiences could see their faces “without smashing the whole image”.

 

There was only a single Color Strike M in Basse’s rig, but it helped her create a memorable effect. She used it to backlight Claude, the musical’s main character, during his first and last appearance on the second level of the central scaffolding tower. Describing the effect, she notes: “It backlit him perfectly in the smoke for those two quick and surprising moments.”

 

Basse worked closely with her programmer Julien Blais-Savoie during this production. “I liked the apparent simplicity of having domestical fluorescent and quartz in the stage, but in good quantities”, she says. “It helped add realism to the set, giving it an 3D aspect. Moreover, we were able to program many punches for the songs, which smoothly brought the audience in a real music hall.”

 

“I’ve been working with the director Serge Denoncourt on several other musical and theatral productions, such as ‘Mademoiselle Julie’, ‘Je vais t’aimer’ and ‘Annie’”, concludes Basse. “We both love slick, white, and sophisticated lighting looks, but on this production the challenge for both of us was to go where nobody, including us, expected us to go - back to typical 1968 Broadway looks.”

 

(Photos: Maxim Paré Fortin)

 

www.chauvetprofessional.com

 

Klang:Technologies immersive in-ear monitor mixing system used for “The Time Traveller’s Wife: The Musical”

Based on Audrey Niffenegger’s bestselling 2003 novel, a new musical adaptation of “The Time Traveller’s Wife” recently premiered at London’s Apollo Theatre in the West End, showcasing an original score by Joss Stone and Dave Stewart. Sound Designer Richard Brooker and Associate Sound Designer Nick Lodge collaborated closely with the production crew - including Callum Donaldson, Isabel McIntosh, Andrew Williams and sound effects designer Pete Malkin - to bring forth this show, which has been running since October.

 

The production also marks Brooker’s first proper use of the Klang:Technologies immersive in-ear monitor mixing system, supplied by Stage Sound Services, for the show’s band. The system comprises Klang:Vokal and Klang:Kontroller. After initial discussions with Phil Kamp from Klang:Technologies, who offered full support in transitioning from the team’s previous system, Brooker also had the opportunity to visit DiGiCo’s offices to meet Product Specialist Dave Bigg, who provided Brooker with a further opportunity to delve deep into the system.

 

“You just have to adjust your thought process to understand how Klang works”, says Brooker. “It’s much more aligned with how our ears and brains process information on a day-to-day basis, rather than simply putting on a pair of headphones and working with stereo limitations. It’s about trying to make it feel as natural as if you weren’t wearing headphones or in-ears. Nick did an excellent job programming the system in a way that made sense to us, but also catered to the musicians.”

 

Brooker adds that once “you get your mix right, and if you’re using the 360-degree soundstage, it’s possible to listen to the mix at lower volumes”. He believes this is helpful because some musicians tend to keep the volume high, which can be damaging to their hearing in the long run, and also fatiguing.

 

With each band member having their own unique mix setup, Brooker highlights that it shows everyone’s distinct preferences in how they like to listen, with “Klang fully leveraging that flexibility”. He further notes that being a DiGiCo through and through designer and engineer, he appreciates how Klang products integrate with the DiGiCo Quantum7T digital mixing console that is being used for the show.

 

Talking about the technical set-up, Nick Lodge explains that they are feeding the Klang system directly from the DiGiCo console, “sending Groups and auxes and other things to it, as well as some direct outs so we can treat things directly as, for example, the bass player wants to hear his bass”, he says. “We made an initial assessment of each musician and their needs, then programmed Klang to each musician’s preferences. Some people wanted to play with the angles and positioning and other features, while others preferred a set menu.”

 

Following the successful deployment of the Klang system at “The Time Traveller’s Wife: The Musical” production, Brooker has also been using it on other shows he is managing.

 

(Photos: Johan Persson/Klang:Technologies/DiGiCo)

 

www.klang.com

www.digico.biz

 

Gregor Hägele auf Tour mit GLP

Bei den „Mama, ich bin dann mal auf Tour“-Konzerten des deutschen Singer-Songwriters Gregor Hägele im November 2023 verantwortete Lichttechniker/Operator Johannes Münsch das Set- und Lichtdesign. Mit sechs GLP JDC1, jeweils vier Impression E350 und Fusion X-PAR 12Z schuf er das Setup für Venues mit einer Kapazität von 300 bis 1.200 Personen.

 

Jeweils zwei der sechs JDC1-Hybrid-Strobes montierte Münsch an drei senkrechten Traversenstehern. Den Raum zwischen den Stehern füllte er mit den vier Impression E350 Spot, welche direkt auf ihren Cases platziert für Beam-Looks sowie Gobo-Effekte sorgten. Jeweils zwei Fusion X-PAR 12Z schufen das Gassenlicht.

 

Die JDC1 standen klar im Mittelpunkt und wurden verwendet, „um die Bühne in Farbe zu tauchen und rhythmische Highlights mit einzelnen Pixeln oder kompletten Strobe-Lines zu betonen“, wie der Designer erklärt. Die Fusion X-PAR 12Z waren Neuland für Münsch: „Die Gregor-Hägele-Tour war mein erster Einsatz dieser Lampe“, sagt er.

 

(Fotos: GLP)

 

www.glp.de

 

Vio-X-Serie von dBTechnologies bei Miljö-Mitsing-Konzert in Jülich im Einsatz

Vio-X-Serie von dBTechnologies bei Miljö-Mitsing-Konzert in Jülich im Einsatz
Vio-X-Serie von dBTechnologies bei Miljö-Mitsing-Konzert in Jülich im Einsatz

Die Kölner Band Miljö hat ihr zehnjähriges Jubiläum mit einer Tour von Mitsing-Konzerten gefeiert, die unter anderem im Kuba in Jülich Station machte. Das Licht, die Möbel, die (fast) ausschließlich unplugged präsentierten Songs und die Bestuhlung im Saal sorgten für eine heimelige Wohnzimmer-Atmosphäre im Club. Die Beschallungsanlage war mit Komponenten von dBTechnologies bestückt.

 

Für das Konzert in Jülich nutzte Achim Helmrich, der langjährige Tonmann der Band, aktive Komponenten der Vio-X-Serie. Direkt vor der Bühne waren zwei Sets Vio X 206 mit Stativ auf einem Vio-S118r-Subwoofer platziert. Liegend am Bühnenrand taten drei Vio-X-205-Einheiten ihren Dienst als Nearfills. Um das gewünschte Wohnzimmer-Feeling zu generieren, entschied sich Helmrich dazu, im Publikum noch zwei weitere aktive Vio-X-10-Point-Source-Lautsprecher als Delays zu installieren.

 

(Fotos: dBTechnologies GmbH/Sascha Gansen)

 

www.dbtechnologies.com

 

Vio-X-Serie von dBTechnologies bei Miljö-Mitsing-Konzert in Jülich im EinsatzVio-X-Serie von dBTechnologies bei Miljö-Mitsing-Konzert in Jülich im Einsatz

Cohesion selected for Microsoft Ignite 2023

Cohesion selected for Microsoft Ignite 2023
Cohesion selected for Microsoft Ignite 2023

ATK Audiotek’s Cohesion sound systems were used for Microsoft Ignite 2023, the tech giant’s annual demonstration of new products and solutions. The Cohesion products were deployed at the Keynote Stage and the IP (Interstitial Programming) Theater Stage which thousands of developers and partners attended.

 

The system at the Keynote Stage included twelve arrays of CO10 line arrays utilizing both 120° and 80° directivities. Eight CP6+ self-powered point source loudspeakers, hidden within the recess of a purpose-built three-foot “moat” shelf in front of the Keynote Stage, provided front fill, while a ninth CP6+ directed sound toward a cluster of seats on the side. Six CP218 II+ subwoofers were deployed in a cardioid arrangement.

 

Upstairs on the fifth floor of the convention center, Microsoft held their IP Theater Stage to broadcast a continuous live program featuring a variety of hosts, guests, and live demonstrations. The CP6+ was selected to provide the entire PA system.

 

(Photos: Cohesion/Clair Global)

 

www.cohesionaudio.com

 

Hard-Fi turn to DiGiCo for first UK tour in over a decade

Hard-Fi turn to DiGiCo for first UK tour in over a decade
Hard-Fi turn to DiGiCo for first UK tour in over a decade

After a ten-year hiatus, indie rock band Hard-Fi made a return in October 2023 with a 13-day nationwide tour. The West London four-piece played venues such as the Junction in Cambridge, O2 Academy in Liverpool, Rock City in Nottingham, and the Troxy in London. Front of House Engineer Sam Parker and Monitor Engineer Bertie Hunter deployed a DiGiCo Quantum 225 and SD12 digital mixing console respectively, supplied by CS Audio.

 

“We had around thirty inputs and output-wise there were four band mixes and two tech mixes. One of my favourite functions on the SD12 is the Processing Matrix, which is instrumental for building an efficient talk system between the band and crew”, says Hunter. Parker adds: “We gravitated towards DiGiCo due to our longstanding familiarity with the brand. The Quantum 225 and SD12 were ideal for us, particularly because of the need for smaller footprint consoles.” The two consoles were connected via Madi to independent MQ Racks, ensuring complete autonomy within a condensed setup.

 

(Photos: DiGiCo/CS Audio)

 

www.digico.biz

 

Hard-Fi turn to DiGiCo for first UK tour in over a decadeHard-Fi turn to DiGiCo for first UK tour in over a decade

Maisie Peters on tour with DiGiCo consoles

Maisie Peters on tour with DiGiCo consoles
Maisie Peters on tour with DiGiCo consoles

British singer-songwriter Maisie Peters recently completed the latest UK leg of her “The Good Witch” tour, with further dates across Europe and Australia scheduled for 2024. FOH Engineer Nathan Kennedy and Monitor Engineer Michael “Fitz“ Fitzsimons utilised a DiGiCo SD10 and DiGiCo Quantum 225 respectively.

 

“During Maisie’s first year, I used an SD10”, says Kennedy. “For the US and UK tour, I switched to the Quantum 225 as I wanted to explore the Spice Rack and Mustard Processing. I apply Mustard compression to my drum groups, which makes the toms, kick, and snare pop a lot more than they did.”

 

Fitzsimons has deployed DiGiCo consoles across a multitude of acts, from Cradle of Filth to Eric Clapton, and for the past year has been using DiGiCo for monitoring Maisie Peters. “It’s an incredibly busy gig”, he says. “We’ve just wrapped up a grueling 110-day run across the USA, Canada, Japan, and the UK/Ireland, and that’s just the tip of the iceberg.”

 

Fitzsimons notes that he has toured most extensively with SD7 and SD10 consoles, and continues with an SD10 for Peters’ tour. “I’m sharing mic inputs on a fibre loop with Nathan, which also includes an Orange Box facilitating bi-directional Dante communication between monitors and playback, alongside various sends and receives”, he adds.

 

When it comes to the console set-up for monitors, Fitzsimons employs eight Stereo Auxes into his in ear rack, along with spare, guest, and control mixes. He incorporates subs, a butt kicker, and analogue returns to a hardwired drum pack. “The cue and crew mixes leave the board on matrixes”, he explains. “I merge these mixes into stereo groups before the matrix grid and use a shout group as a key input on the duckers to ensure clear talkback during the show.”

 

Additionally, Fitzsimons utilises ten internal effects, some on Aux sends and others as channel inserts. “For instance, with acoustic guitars, I adjust the wet/dry mix per Snapshot/song”, he says. “I split all my drum channels, then sub-mix the split channels into a buss feeding a stereo group, on which I use a pair of analogue Urei 1176s.”

 

For FOH, there are sixty inputs in total, which includes talkbacks. Kennedy also uses six mono Auxes, one stereo Aux, six mono groups and five stereo groups. “I have a dedicated Maisie vocal EQ group, kick and snare group, toms group, backing vocals group and guitars group,” he says.

 

(Photos: James Cumpsty/DiGiCo)

 

www.digico.biz

 

Maisie Peters on tour with DiGiCo consolesMaisie Peters on tour with DiGiCo consoles

VNV Nation auf Tour mit Claypaky Volero Wave

Seit über dreißig Jahren ist das Future-Pop/Alternative-Electronic-Projekt VNV Nation aktiv. Gründer Ronan Harris ist dabei Sänger, Songwriter, Produzent und Setdesigner in Personalunion. Lichtdesigner Martin Heining (Martin Heining Showdesign), der seit 2016 das Lichtdesign der VNV-Nation-Shows entwirft und von Ronan Harris respektvoll als „Lichtmaler“ bezeichnet wird, verwendete für die letztjährige „Electric Sun“-Europatournee im Effektlichtbereich erstmalig die Volero Wave von Claypaky.

 

Heining beschreibt Bandleader Harris als einen „extrem visuell denkenden Menschen, der oft schon im Songwriting-Prozess Ideen zur visuellen Umsetzung auf der Bühne mitentwickelt“ und überdies auch den Video-Content der Shows selbst gestaltet hat. „Im Designprozess war mir daran gelegen, möglichst mehrere verschiedene Lichtebenen zu schaffen, um wirklich dreidimensional inszenieren zu können“, ergänzt Heining, der sein Design aufgrund unterschiedlicher Hallengrößen hochgradig skalierbar gestalten musste.

 

Neben vier LED-Wänden und einigen Pixeltowern sorgten insgesamt zehn Claypaky Volero Wave für die gewünschte Dynamik. Die LED-Bars im neuartigen Design mit Einzelkopf-Tilt wurden in fünf linearen Zweierblöcken auf der Bühne platziert, jeweils vor den Videowänden sowie auf dem Drum Riser. „Mit zehn Volero Wave hatte ich praktisch achtzig Movinglights auf der Bühne stehen“, so Heining.

 

(Fotos: Markus Wilmsmann)

 

www.visiontwo.de