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Ayrton Cobra illuminates the sky for Golden Bee Awards at Malta’s Mediterrane Film Festival
19/08/2024
Will Pan world tour kicks off with EAW
14/08/2024
SWG Events partners with 22live to deploy Martin Audio WPL for BS3 Festival and Kings of Leon
05/08/2024
Cort Lawrence and Raw Cereal animate Hardy tour with LD Trevor Drawdy and Chauvet Professional
02/08/2024
Hippotizer supports Electric Forest Festival
01/08/2024
David Guetta’s “Monolith” show in Valencia lit with Ayrton Cobra
On July 25, 2024, David Guetta combined his electronic sounds with visual effects during his four-hour show “The Monolith” at the Ciutat de València Stadium, captivating an audience of more than 18,000. “The Monolith” solidified its status as Guetta’s premier show in Spain, an exclusive production crafted specifically for this event.
The large-scale set design integrated the latest technology, with every detail being synchronized for a mix of immersive sounds and a visual display of laser lights and special effects. The show also included pyrotechnics. The event was produced by Global Live Entertainment SL. Fluge Audiovisuales was responsible for supplying the technical equipment.
The stage setup included a giant LED screen with a cube-shaped design that ruled the stage. Twenty-four Ayrton Cobra laser-sourced fixtures projected beams of light that danced in the air and sky, with the laser effects conjuring a futuristic ambiance. The lights’ rapid movement and direction changes aimed to create the illusion of the light itself dancing to Guetta’s rhythm.
(Photos: Globaly Live)
Coda Audio system chosen for Volkswagen event in Beijing
During the recent Beijing Autoshow, the Volkswagen Group presented product highlights at the city’s Phoenix Media Centre. Live-streamed around the world, with the unveiling of new models from Volkswagen, Audi, Porsche, Lamborghini, Bentley, and Ducati, the Volkswagen Group Media Night celebrated forty years of Volkswagen presence in China in front of a large audience of Volkswagen Group executives, management representatives, and other business partners.
The live show, in which the cars were the stars, demanded audio for both music playback and speech presentation. Production specialist Tongbo was engaged by Creative Audio Visual Equipment Trading of Shanghai to supply the audio package. Tongbo installed and supported a Coda Audio system designed by Oliver Tschotow.
The main system comprised left, centre, and right clusters of N-Aps (twelve in total) complemented by two Hops8i as infills. A further thirteen Hops8i were ceiling-mounted as delays, with two more deployed as monitors alongside two Hops12. Four Hops5 were used as delays at the rear of the auditorium. The overall system was supported by twelve SCP subs and powered by Coda Audio DSP amplification using three Linus T-Racks and and a single Linus M-Rack.
(Photos: Coda Audio/Creative Audio Visual Equipment Trading, Shanghai/Tongbo/Volkswagen Group)
Adam Robinson and Cameron Manes optimize sonic performance for Jonas Brothers with Sound Devices A20-Nexus
In August of 2023, the Jonas Brothers launched an expansive world tour that has seen them playing hits from their entire discography at major venues across the globe. FOH Engineer Adam Robinson and Audio Systems Engineer Cameron Manes spearhead the audio elements of the shows.
Given that the tour would be visiting a very wide range of venues, Robinson and Manes were eager to develop an optimized methodology to getting the most consistent sonic performance in each venue. The pair adopted the Sound Devices A20-Nexus receiver and its new Test and Measurement Mode to streamline this approach.
Although the testing and measurement process - a careful check that ensures all audio systems are responding predictably in each venue - is an important part of any large audio production, its purpose is frequently misunderstood even by professionals in the field. Ensuring consistent performance from speaker systems can be the difference between a successful performance or a disastrous one.
“The key word in all of this is consistency”, explains Manes. “What many people don’t understand is that it takes a trained ear to recognize if the system is reacting differently in different parts of the room. It may ‘sound good’ somewhere, but if the entire system isn’t providing a similar sounding experience to every seat of the house, then the show can be a failure.”
Adding to the potential pressure on large productions is that oftentimes testing and measurement can be a rushed affair given how long it can take to set up the proper equipment. For Manes, this is something that drove him and Robinson to think differently about how to streamline the process for this tour. “We really only have about thirty minutes to conduct this process in each venue”, says Manes. “Finding ways of doing it more efficiently and getting better results was something we were always in search of as it’s very important for the final product. When Sound Devices added T+M mode to the A20-Nexus, we immediately signed up to be beta testers because we saw the opportunity to completely overhaul the process for the better.”
The basis of Robinson’s FOH rig for the tour is the DiGiCo Quantum 7 console and D&B KSL line arrays supplied by longtime partner Clair Global. The measurement system that he and Manes devised utilized four Sound Devices A20-TX wireless transmitters paired with Isemcon EMX-7150 microphones and an A20-Nexus receiver that ties in via Dante to a DirectOut Prodigy.MP system controller, providing system management and output routing as well as feeding the test signals to Rational Acoustics Smaart measurement software.
The ability to work wirelessly proved to be a game changer. “Most wireless measurement systems up until this point simply didn’t give accurate enough results as they would impart something incorrect on the measurements in terms of frequency and phase shift”, says Robinson. “With the Sound Devices T+M Modulation Algorithm, there is no frequency or phase shift, so we were getting the exact same measurements we’d get from a wired microphone but with much more flexibility in terms of speed and placement.”
“We have a habit of bringing new electronic toys on each tour that we do together”, adds Manes. “The A20-Nexus was one of them - but it totally changed how we work, and our hats are off to Sound Devices for creating something that’s become so essential to us so quickly.”
(Photos: Sound Devices)
DPA supplies sound for Conservatorium Maastricht’s graduation showcase
Conservatorium Maastricht, an international conservatory, is one of nine music academies in the Netherlands. With goals to set its musicians in motion, the school enables its students to achieve their ambitions in various musical fields through theoretical and practical approaches to artistic development and performance, along with cross-departmental activities, elective courses and professional development.
At the end of each year, Conservatorium Maastricht holds a graduation showcase, where students present their final projects. This event allows graduates to demonstrate what they have learned and their capabilities as musicians, composers and/or producers. This year, the event was held at Muziekgieterij, a local concert hall that was tasked with handling the technical aspects, which included providing sound for the show.
To achieve this, Muziekgieterij Technical Manager Ernst Jan Hölscher and the conservatory’s organizer Luke Mitchell turned to Amptec Professional Audio Solutions, which supplied the venue with nearly thirty different mics from DPA Microphones, with the help of DPA Specialist Steve Haesevoets.
Among the DPA solutions used for the academy’s final performances were seventeen 4099 Instrument Microphones, the Extreme SPL versions of which were deployed for four trumpets, four trombones, three toms and the bottom snare, while five Loud SPL versions were utilized for the saxophones. For the remainder of the drum kit, Amptec selected the DPA 4055 Kick Drum Microphone for the kick, 2012 Compact Cardioid on snare top and a pair of 2015 Wide Cardioids as overheads on the hi-hats, with an additional two for the remaining percussion.
To round out the stage, Amptec also deployed the D:facto Vocal Microphones for the singers, 2011 Twin Diaphragm Cardioids for the bass and guitar amps and a pair of 4011 Cardioid Condensers on piano, which were further supported by a pair of 4099 microphones.
(Photos: DPA Microphones/Watchkraft.com)
Concept K lights Solidays main stage with 100 Elation SOL I Blinders
Creative design practice Concept K employed 100 Elation SOL I Blinders at the Solidays Festival in Paris at the end of June 2024, one of the first uses in Europe of the creative blinder and effect light. Lighting supply was by Dushow, a festival provider for many years, with lighting design by Frédéric “Aldo” Fayard of Concept K.
Solidays is an annual music festival held at the Longchamp Racecourse in Paris. Organized by Solidarité sida, it brings together more than 150 artists and 170,000 festival-goers for three days with proceeds going to organizations fighting HIV/AIDS.
Fayard, founder and artistic director of Concept K, used the SOL I Blinders for the festival’s main stage. “Lighting designers have been looking for a source capable of replacing the FL650, and the SOL I from Elation is the answer to this request”, he says.
In addition to being used as a blinder, Concept K plans to use the SOL I for décor lighting purposes. “It will certainly find its place in many other uses”, concludes Fayard.
(Photos: Concept K/Elation/Your Wolf Agency)
LLeyendecker Eventsolutions setzt bei OMR Festival erstmalig iForte LTX von Robe ein
Das OMR Festival ist die größte Zusammenkunft von Führungskräften aus Digitalwirtschaft, Medien und Marketing in Europa. Gemessen an der Besucherzahl zählt es zu den größten Branchenevents weltweit: Im Jahr 2024 besuchten rund 67.000 Menschen das OMR Festival in Hamburg.
Das zweitägige Event bietet der Marketing- und Digitalszene ein Programm aus Konferenz, Masterclasses, Side Events und Expo. Auf sechs Bühnen diskutieren rund 800 Referenten über die aktuellen Trends und Entwicklungen - darunter Branchen-Experten, Digital-Entscheider, Gründer und Investoren. Beim OMR24 zählten dazu unter anderen Kim Kardashian, Kara Swisher, Tim Ferriss, Jeff Koons, Rick Rubin sowie die Bundesminister Robert Habeck und Christian Lindner.
Die Red Stage gehört zu den größten Bühnen auf dem OMR Festival. In diesem Jahr wurde sie erneut vom OMR Content Partner Vodafone präsentiert. Auf ihr finden tagsüber Keynotes und Panels mit nationalen und internationalen Experten statt; abends können die Besucher Live-Konzerten beiwohnen. Die Gestaltung der Bühne muss daher beiden Nutzungen gerecht werden. LLeyendecker Eventsolutions ist bereits seit einigen Jahren technischer Dienstleister für die Red Stage und die Masterclasses und setzt zahlreiche Robe-Produkte ein - neu in diesem Jahr unter anderem zwei iForte LTX als FollowSpot, neben 74 iFortes und 78 MegaPointes.
Als Lichtdesigner war, wie auch in den Vorjahren, Sebastian „Seba“ Jakob für die Gestaltung der Bühne zuständig. „Ich habe den iForte LTX das erste Mal auf dem Robe LD Summit im Januar dieses Jahres gesehen“, sagt er. „Das Konzept, einen Scheinwerfer auf den Markt zu bringen, der sowohl den Robe BMFL Washbeam als auch den Robe BMFL Follow LT auf Basis von LED-Technologie ersetzen kann, hat mich sofort angesprochen. Als mir dann die Firma LLeyendecker Eventsolutions erzählte, dass sie in iForte LTX investiert hat, wollte ich die Geräte unbedingt beim OMR Festival als Verfolger ausprobieren.“
(Fotos: Lleyendecker Eventsolutions/Hannah Wilde)
Inklusives Tanzprojekt „Babylon“ mit LD Systems und Cameo inszeniert
Im Großen Sendesaal des Hessischen Rundfunks (HR) standen in diesem Sommer beim inklusiven Tanzprojekt „Babylon - Miteinander reden ist Gold“ der Lorenz-Stiftung insgesamt 150 Personen - Profis und Amateure, Menschen mit und ohne Behinderung - auf der Bühne. Das Live-Event mit Bildern und Musik wurde vom Technik-Team der eCon GmbH und einem Ton- und Licht-Setup von LD Systems und Cameo unterstützt.
„Babylon - Miteinander reden ist Gold“ erzählt eine alte, biblische Geschichte, angepasst an die Herausforderungen der modernen Zeit: fehlendes Verständnis und schwindendes Miteinander in Zeiten von Digitalisierung, Algorithmen und Fake News. Auf diese Verständigungsprobleme reagierte das „Babylon“-Projekt unter der Leitung des Regisseurs und Tanzpädagogen Miguel-Angel Zermeño mit universellen „Sprachen“, die alle verstehen: Tanz, Musik und Bewegung.
Für die Beschallung nutzte eCon als Technischer Generaldienstleister ein LD-Systems-Maila-XXL-Line-Array-Groundstack-System, das im Sendesaal gleich mehrere Vorteile bot: „Der HR-Sendesaal ist wie ein Theater konzipiert, mit ebenerdiger Bühne und ansteigender Bestuhlung“, erläutert Moritz Stüve. „Im hinteren Bereich blicken die Zuschauer demnach von oben auf die Bühne herunter, so dass wir ein möglichst schlankes Beschallungssystem brauchten, um die Sicht so wenig wie möglich zu beeinträchtigen.“
Zudem musste das System in der Lage sein, den langgestreckten Raum gleichmäßig und ohne den Einsatz von Delay-Lines abzudecken. Für den Tieftonbereich konfigurierte eCon zwei Maila-Subs pro Seite als Cardiod-System. Für die Inszenierung und das dynamische Bühnengeschehen musste das Team darüber hinaus ein Lichtsetup finden, das bei begrenztem Platz die nötige gestalterische Freiheit bot.
Hier erwies sich der Cameo-Azor-S2-Spot-Moving-Head als kompakte und gleichzeitig lichtstarke Lampe für Gobo-Projektionen und Gegenlichter. Als klassisches Frontlicht kam der Azor-SP2-Spot-Profile-Moving-Head zum Einsatz, um mit seinen integrierten Blendenschiebern für mehr Tiefe auf der Bühne zu sorgen. „Mit der Kombination aus Azor S2 und Azor SP2 brauchten wir uns keine Gedanken um die Farbabstimmung der einzelnen Fixtures zu machen“, sagt Stüve.
Auch die Zenit-Serie kam bei „Babylon - Miteinander reden ist Gold“ zum Einsatz. Während die Zenit-W600-SMD-LED-Wash-Lights sowohl als Flächenleuchten und Gassenlichter wie auch als Strobes und Effektlichter mit individueller Pixelansteuerung verwendet wurden, dienten die Zenit B200 als Spezialisten für die besonderen Anforderungen der Produktion: „Da bei ‘Babylon’ auch Rollstuhlfahrer mitwirkten, durften wir auf der Bühne keine Strom- und Signalkabel und auch keine Kabelbrücken verlegen“, erklärt Stüve. „Aus diesem Grund setzten wir die akku- und W-DMX-fähigen Zenit B200 immer dann ein, wenn in Szenen einzelne, mobile Lichtakzente erforderlich waren.“
„Hier kommt so viel zusammen, was unser Herz berührt: Junge Menschen, Menschen mit Beeinträchtigungen, die mit viel Kreativität und Leidenschaft etwas Großartiges schaffen“, sagt Alexander Pietschmann, CEO der Adam Hall Group. „Als ich bei den Proben dabei sein durfte, hat man diese positive Energie direkt gespürt. Wir freuen uns sehr, dies mit Eventtechnik zu bereichern und unseren kleinen Beitrag zu diesem außergewöhnlichen Projekt zu leisten.“
(Fotos: Adam Hall Group)
Lukas Graham opts for Solid State Logic System T flypack
When Frank Grønbæk, front-of-house engineer with Danish pop band Lukas Graham, visited Solid State Logic’s U.K. headquarters and had a demonstration of the System T Tempest Control App, paired with a TE1 processing engine and a 16-channel Fader Tile, he realized he had found a system meeting his needs.
Grønbæk, who is also a live and studio product specialist at Nordic Pro Audio, one of SSL’s partners in Denmark, has worked with Lukas Graham since 2012. The band’s monitor engineer, Rasmus Valentin, also works for Alfa Audio, SSL’s live sound products distribution partner for Denmark. “We’re both involved with the same band, but we’re also involved with the same brand”, says Grønbæk.
In Grønbæk’s custom-configured FOH mixing package, a System T 16-channel Furniture Fader Tile and a dedicated touchscreen are housed in a custom case to protect the rig in transit. A single-rack-space SSL TE1 Tempest Engine, which supports up to 256 paths, is paired with a custom-configured Windows-based computer running SSL’s Tempest Control App.
The TCA Flypack is interfaced to an outboard hardware interface managing routing and matrixing in and out of the setup, as well as a hardware processor providing multi-zone P.A. management. A Mac Mini computer also acts as a server, hosting plug-ins and presets that Grønbæk has developed during more than a decade with Lukas Graham, and additionally runs sound level measurement and metering apps.
Grønbæk’s idea, beginning in 2016 with Lukas Graham’s busy touring schedule, was to find a lightweight mixing console that took up minimal rack space and occupied a small footprint at FOH. “We travel a lot and do as many as ninety gigs a year, all over the world”, he says. “We need to be able to travel light when we fly, so the weight can never exceed 32 kilos for the whole rack. But we also want to maintain a high level of audio consistency. It doesn’t matter if we’re playing a festival for 30,000 people, a showcase for 500 people or a morning TV show, it has to sound exactly the same all the time.”
About the time before 2016, when the touring production switched to portable consoles, Grønbæk says: “We did some festival gigs with a combination of SSL Live consoles at front-of-house and monitors, so we were familiar with the sound of SSL equipment. But you cannot easily fly with an L550.”
Despite the high channel count supported by the TE1 Tempest Engine, Lukas Graham’s stage setup demands relatively few inputs, says Grønbæk. “We have a drum kit and a bunch of microphones for vocals, so about sixteen of the 40 or 45 channels coming from the stage are mic-level.” The wireless bass passes via Dante to the console while the wireless guitar is fed over AES/EBU. The outputs from the computers driving the MIDI keyboards are routed to FOH via MADI. The support tracks playback rig is also networked over Dante to FOH.
When mixing, Grønbæk typically has the system configured with VCAs on the top fader layer. The link between the physical faders and the touchscreen can be disengaged, allowing him to direct his creative focus onto the faders yet still adjust other channels on the touchscreen. It’s also a simple matter to take control of an onscreen channel from an encoder on the Fader Tile, he notes.
Lukas Graham’s live show is timecode-based. “I have snapshot automation”, says Grønbæk. “The incoming timecode is triggering different snapshots.” When playing festivals or fly-dates where there may not be enough time to optimize the P.A. rig before the band take the stage, Grønbæk has the timecode triggering a variety of snapshots - adjusting channel mutes, controlling auxiliary sends or making delay and reverb changes - during the first few songs so that he can make fader moves with one hand while trimming the speaker system with his other hand on a separate touchscreen.
System T has two faders per channel, he also points out: “So whenever there’s a new song, there’s a new level on fader two, but fader one stays at unity gain. All my faders are flat at 0 dB, but the other fader is doing all the automation underneath.”
Grønbæk first took his new TCA console out on a U.S. tour with Lukas Graham in January 2024, followed by a string of dates in the U.K. in March, then eight nights at the same venue in Denmark around Easter. The band is playing festivals across Europe this summer.
(Photos: Solid State Logic)
Britannia Row supports The Offspring’s summer tour
American punk band The Offspring are playing worldwide summer dates including a 30th anniversary concert in Anaheim, California, in celebration of the album “Smash”, and performances at festivals around the globe, including Download, Hell Fest and BottleRock. Britannia Row Productions continues to provide audio rental services for the band, from bespoke control packages to full audio reinforcement.
At the 30th anniversary show in Anaheim, an L-Acoustics K1/K2 system was deployed at the Honda Center. The concert was mixed by FOH Engineer Greg Bess utilising a Cadac J-Type analogue console and a Cadac CDC Four compact digital mixer, while Monitor Engineer Jesse Cantrell chose an SSL 550 Plus to handle the band’s monitoring needs.
“Anaheim was very special”, says Cantrell. “I’ve listened to this band since I was a kid, and probably played some of these songs in my own bands in high school, so to get to be there when ‘Smash’ turned 30 was an experience I can honestly say I never thought I’d be a part of. I feel so lucky to have been there.”
Not afraid to mix things up, The Offspring’s engineers are no strangers to jumping between riders. “One of my favourite parts of the gig is getting to work on the Midas Heritage 3000”, continues Cantrell. “But this year, we swapped it out on some shows for an SSL L550. Their show is growing, Dexter (Holland, frontman) and the band have some cool ideas to take this show to a new level and we needed more flexibility at monitor world to allow that to happen.”
Cantrell, who is supported by Monitor Tech Emily Adams, credits her expertise with helping to enable a stress-free show: “With Emily on stage I can trust that everything is patched and mic’d up correctly. She takes care of everything so I can focus on mixing.” He chose the SSL for his digital desk as it sounds “as close to analogue as it can get”, as he puts it. He also implements a Rupert Neve Shelford Channel for Dexter Holland’s vocal, in line with the analogue rig. For all wireless needs, Cantrell, who is managing fifteen mixes, opts for Shure PSM1000s and Shure Axient.
“On top of everyone using Ultimate Ears IEMs, we use D&B Audiotechnik M2 wedges and two L-Acoustics A15 over one KS28 sub for side fills. Everyone except Dexter has a stereo band mix in their ears with themselves on top as standard. Dexter only wears one ear and has his vocal and guitar through it. His wedge is mostly his vocal and some guitar, while the rest of the wedges are vocals and drums. The side fill mixes are mostly drums, bass and vocals.”
Out front is long-serving FOH Engineer Greg Bess, who reflects on the system design at the Anaheim show: “We did slight modifications from our standard K1 over K2 configuration. We carefully matched the angles of the hangs to keep phase alignment as close as possible. For side coverage we had K1SB over K2 and kept our two centre hangs of Kara to fill the elusive centre coverage, which can be missed by stacked front fills.”
“For ground subs we used KS28, one high across the entire width of the stage in a sub-arc set-up”, furthers Bess. “This prevents annihilating the first few rows of the audience with inordinate amounts of low end.” Complementing the Cadac hub, Bess has outboard units including a Lexicon 960L, Gentner Audio Prism, Universal Audio Little Labs IBP, SPL Stereo Vitalizer Mk2-T 9739, and a Valley People PR-10 Rack with Kepex II, to name but a few.
A new addition to his FOH camp this year is Audio Tech Jess Loma who was enlisted to be Bess’ “extra ears”, checking coverage and balance in every venue. “When I first joined this team, I was very excited to see that they were using analogue desks at both FOH and monitors”, states Loma. “We’ve been playing a lot of festivals and old amphitheatres around Europe and South America this year, where we’re often not able to do a full sound check. I’ve started to work on the multitracking/streaming feeds, which allows Greg to focus on getting his mix levels for the show while I get the levels for any streams and multitracking.”
“For outboard feeds, we work on the same desk and so at the same time during soundcheck, we need to make sure that we tell each other if any adjustments are needed that could affect each other’s feed”, she adds. For the festival control package, Bess has an ATI Paragon II P2P desk modified with a reduced frame size, and custom-built API group/matrix outputs.
“The channel direct outputs are fed to 2-24 channel BBR1-B recorders for tracking as well as a Sennheiser Ambeo VR mic for audience pickup through a Black Lion Auteur Quad Mic pre”, concludes Loma. “For streaming and media feeds we use multiple matrix mixes to change the balance of the signal to suit the difference between the main mix and a more appropriate balance sent to two track feeds. Additionally, we have another mix sent to a Tascam Portacapture X8 for quick transfer to social media shots.”
(Photos: Ashley Osborn/Goldenvoice Just Like Heaven 2024)
Claypaky Arolla Aqua lights up Max Pezzali’s stadium tour
Max Pezzali’s first real stadium tour in over thirty years of career, “Max Forever”, sold out across all venues. The 10-date tour was a nostalgic journey through time, uniting different generations with the taste and icons of the 1990s. The former 883 frontman performed over thirty songs, including hits, rarities and his new single, released a few months ago after a four-year hiatus.
The tour’s stage design was nothing short of spectacular. All the visual elements created a nostalgic, celebratory atmosphere, highlighting the milestones of Pezzali’s career. Agora Rental, the supplier, suggested to use the Claypaky Arolla Aqua for these shows.
“For us, it was a great opportunity, which we seized immediately”, says Jordan Babev from Blearred Milano, the studio which dealt with the show’s lighting design. “We worked smoothly with Agora, allowing us to integrate these lights seamlessly into our design. The Arolla Aqua enabled us to create a show we are extremely satisfied with.”
“We used 158 Arolla Aqua units as the central part of our lighting design for Max Pezzali’s tour”, specifies Babev. “Our goal was to use a versatile light that could transform the stage design during the performance, creating different visual configurations. Spotlights highlighted key moments, adding dynamism and depth to the stage.”
“To complement the 158 Arolla Aqua fixtures, we also used 57 HY B-Eye K25 units”, he adds. “This choice successfully met all our design and performance requirements. Limiting the variety of lights allowed us to optimize programming and management while maintaining high-quality and visual consistency throughout the show.”
Working alongside Lighting Designer Jordan Babev on the “Max Forever” tour were Creative Director Sergio Papalettera and Operator Gianni Porcaro. The Agora lighting crew comprised Marco Carancini, Damiano Gasparini, Pablo Consoli, Jacopo Germiniasi, Devis Laurino, Giuliano De Lauro, and Simone Ronconi.
(Photos: Alessandro Bremec)
Ayrton Cobra illuminates the sky for Golden Bee Awards at Malta’s Mediterrane Film Festival
The Mediterrane Film Festival, hosted for the second consecutive year in Malta from June 22-30, 2024, culminated with the Golden Bee Award Ceremony hosted by David Walliams at Fort Manoel, Gzira. Over a dozen awards were presented to international actors, directors and cinematographers across a variety of categories.
The Awards were interspersed with performances from artists including Heather Small, Calum Scott, Joseph Calleja and the Golden Bee Awards Orchestra. Writer-director Mike Leigh was awarded the Career Achievement Award, and Maltese production coordinator Rita Galea was presented with a Lifetime Achievement Award. The evening was rounded off with a speech from the President of Malta, Myriam Spiteri Debono.
Raphaël Demonthy, lighting designer and managing director at Sunrise Studios GmbH of Berlin, was responsible for the complete lighting design and realisation of the Ceremony on site, from the moment the VIP guests arrived on the red carpet, through the reception area to the show itself, and also the backdrop of the Valletta skyline.
Signature to his visual design was a row of thirty Ayrton Cobra laser-sourced fixtures which he positioned upstage at floor level to form a long line behind the 50 m x 10 m semi-transparent LED backdrop. “This gave the wall both frame and depth”, explains Demonthy. “We were able to extend the stage looks by creating a wall of beams that could keep up with the different ‘colour worlds’ created on stage.”
At specific moments, as the Valletta skyline took centre stage as a backdrop on the other side of the harbour, Demonthy used the Cobra fixtures at their widest zoom setting, adding frost and prism effects to create camera flares for an underline below the vignette.
Demonthy’s team for the Golden Bee Awards consisted of spot caller Didi Timmer, keylight operator Fabian Schmidt, showlight operator Marc Marlo Schelesnow, media server operator Sebastian Huwig, media server farmer Christian van Deenen, and picture engineer David Kulla.
The Ayrton Cobra fixtures were supplied for the event by Motion Rental of Germany through the lighting and technical provider, Nexos Lighting & Video, Malta. Production/logistics coordination was by 7Twentyeight Ltd together with Mad About Video Ltd, both from Malta. Production and set design was by Florian Wieder. The production company was Lodge of Levity.
(Photos: Sunrise Studios GmbH)
Cameo-Scheinwerfer im Einsatz auf „Nature One“-Main-Stage
Auch in diesem Jahr feierten wieder zehntausende EDM-Fans beim „Nature One“-Festival auf der Raketenbasis Pydna Kastellaun drei Tage lang mit den besten DJs der Szene. Zur besonderen Atmosphäre des Festivals trägt unter anderem die Main Stage bei: Hier tanzen die Besucher nicht nur vor der Bühne, sondern inmitten einer aufwendigen Traversenkonstruktion mit zahlreichen Licht- und Videoelementen.
Verantwortlich für das Stage-, Licht- und Contentdesign der Main Stage zeichnet seit Jahren Marek Papke von Gerdon Design, der auch in diesem Jahr wieder IP65-Scheinwerfer von Cameo verwendete. Einhundert Otos H5 verteilte das Team in der Gerüststruktur der Main Stage und den Traversen über dem Open Floor.
„Mein Ansatz war es, mit den Scheinwerfern die Linien der Bühne nachzuziehen“, erklärt Papke. „So fanden sich unter anderem mehrere lange, gerade Anordnungen aus Otos H5, mit denen ich die Geometrie und Formgebung der Bühne unterstrich.“ Weitere Otos H5 wurden von Papke als 4er-Pakete auf der Gerüstkonstruktion angeordnet, um einen klassischen „Sky Beam“-Look zu erzeugen. Im Center-Grid über dem Floor kam zudem eine Matrix aus 8 x 4 Otos H5 zum Einsatz.
Mit dem diesjährigen Bühnendesign etablierte Gerdon Design einen neuen Look. Die Bühne folgte einer an Architektur angelehnten Kontur, die durch Deko-Elemente wie Banner und Single-Pixel-LED-Streifen aufgefüllt wurde. Auf dem Floor ergänzten parallele Traversen über den Köpfen der tanzenden Masse die Grundform der bereits bekannten Pyramide. „Unser diesjähriges Motto lautete ‘organic industrial’“, sagt Papke. „Das haben wir vor allem im Videocontent umgesetzt, indem wir einen Look mit Pflanzen erstellten, der die industriell anmutende Grundstruktur der Layher-Bühne mit ‘organischen’ Elementen zum Leben erweckte.“
Schon vor Jahren hat sich Marek Papke dafür entschieden, beim „Nature One“ ausschließlich mit IP-zertifizierten Scheinwerfern zu arbeiten: „Wir wollen in dieser Hinsicht einfach auf Nummer sicher gehen“, sagt er. Mit ihrer IP65-Zertifizierung fügten sich die Zenit-W600-Outdoor-LED-Wash-Lights und die Zenit-P130-LSD-PAR-Scheinwerfer in das Anforderungsprofil des Teams ein.
Während die Zenit P130 vor allem als Gegenlicht-Lampe und Truss-Toner eingesetzt wurden, sorgten die Zenit W600 für die farbige Bannerbeleuchtung. Geliefert wurden die Cameo-Scheinwerfer für die Main Stage vom zuständigen Technik-Dienstleister Schoko Pro.
(Fotos: Julian Huke Photography)
Sven Kucinic turns to Robe for Milica Pavlovic show in Zagreb
Over 200 Robe moving lights graced the stage in a lighting scheme designed by Sven Kucinic of LumiLas LLC for a show by Serbian singer Milica Pavlovic at the Zagreb Arena, Croatia. Kucinic was asked to light the concert after Pavlovic’s show producers saw his lightshow for Croatian artist Gibonni - the previous year at Belgrade Arena - and decided they wanted to work with him.
Kucinic, who combines working as a commercial pilot with designing creative lightshows, was also contacted by the local show producers Ivan Juric-Kacunic, Katijan Knok and Goran Hucaluk, with whom he’s worked on other projects. His starting point for the production lighting design was a set concept by Igor Barberic and Nebojsa Milojevic, which included three interconnected runways coming out from the front of the stage allowing Pavlovic to get close to her fans. The screen design was an adapted version of the set developed for a Milica Pavlovic gig staged at Belgrade Arena a couple of months before this one, but adapted versions of these were the only elements retained for Zagreb.
A troupe of dancers choreographed by Helena Janjusevic boosted the visual dynamics of the performance, for which there was a good production budget. Kucinic took this opportunity to specify his moving light brand of choice, Robe. The lighting equipment and crew were delivered by Mojo Rental South-East Europe (ex-Promo Logistika), and this show was the first time that Kucinic had a chance to use Robe’s Painte moving light and Tetra2 and TextraX linear LED batten products.
Initially, the 24 Paintes were not on the spec as Kucinic thought he would need something larger to cut through the LED video screens from the 20-metre trim height. However, after in-situ testing, he decided to use the Paintes. They were hung on front trusses and used for key lighting and positioned along the catwalks.
Twenty-two Robe Fortes were hung on the mid truss in a cluster formation and made effects fixtures for special moments in the set. Forte has been a go-to luminaire for Kucinic whenever possible for the last couple of years. Once these Paintes and Fortes were in their designated positions, Kucinic started placing the various other lights and positions around them.
Thirty-six MegaPointes were dotted around the upstage trusses, together with 24 Pointes. Twenty-four Spiiders were dotted around the overhead trusses with some on the floor and used for washing the stage, as well as for additional and secondary key lighting. “They worked harmoniously with the Paintes in this context”, says Kucinic noting that the Spiider’s zoom also allowed them to cut through the MegaPointe beams.
Twenty-six Tetra2s and eight TetraXs were also added to the design. The Tetra2s were rigged in an arc around the main video screen and used sparingly, only around ten times throughout the whole set. This allowed the creation of moving seamless walls of light for accenting, a style of effect that is new and still rare for shows in the Balkans. The TetraXs were rigged on small trussing sections flown just below the PA arrays. They were also utilised for some of the darker and moodier songs where eight fixtures offered the desired punch. Kucinic admits that he would have liked more TetraXs, but they were simply not available for the dates due to demand for other events.
Thirty CycFX8 fixtures, Tetra’s predecessors, were used as the main floor up lighters and along the catwalks, a mission-critical task especially for illuminating the dancers. Aesthetically, it was essentially a big glossy-floor pop show. Director Igor Barberic is also a choreographer with plenty of theatrical work under his belt, so a lot of dynamics and plenty of drama was in play throughout the set. Having the CycFX8s on the stage in these specific positions helped light the movement and flow of the show, says Kucinic.
Also on the rig were 24 LEDBeam 150s and ten LEDBeam 350s which worked as back of shot fillers for the multicamera shoot. The 350s placed upstage sliced through the 150 square metres of LED screen.
(Photos: Benny Gashi)
Adam-Hall-Marken Cameo und LD Systems bei Lent Festival in Maribor im Einsatz
Das Lent Festival in Maribor, das größte Open-Air-Festival Sloweniens, zieht jedes Jahr zehntausende Besucher in die ehemalige europäische Kulturhauptstadt. Auf den in der Innenstadt verteilten Bühnen treten nationale und internationale Künstler aus diversen musikalischen Genres auf. Bei der diesjährigen Auflage des Lent Festivals, vom 21. bis 29. Juni 2024, kamen zahlreiche Cameo-Scheinwerfer sowie ein Maila-Array-System von LD Systems zum Einsatz.
Auf der Main Stage im Zentrum Maribors spielten die Top-Stars der slowenischen und überregionalen Musikszene, darunter Magnifico und Perpetuum Jazzile. Für die Beleuchtung setzte Lichtdesigner Matevz Giganovic auf ein nahezu identisches Setup wie im Vorjahr: Opus X Profile, Opus-H5-IP65-Beam-Spot-Wash-Hybrid-Moving-Heads, Evos-W7-LED-Wash-Moving-Heads und Zenit-W600-Outdoor-LED-Wash-Lights. Neu im Rig waren Pixbar-SMD-IP-G2-IP65-SMD-LED-Bars, die in vertikaler Anordnung als Front- und Effektlichter und für Pixeleffekte genutzt wurden.
Auf einer der kleineren Festivalbühnen, der Vecer Stage, traten Künstler unterschiedlicher Genres auf: von Rock über Pop bis hin zu Electronic Music. Lichtdesigner Urban Kolaric ordnete dabei die Cameo-Pixbar-600-Pro-RGBWA+UV-LED-Bars als zentrales Designelement im Bühnenhintergrund in vier Quadraten an und nutzte diese sowohl für Pixel- und Chase-Effekte als auch als Blinder.
Als Eye-Candy-Effekt kamen weitere Pixbar 600 Pro in senkrechter Anordnung an der vorderen Rundbogentraverse zum Einsatz. Zur farbigen Ausleuchtung von Bühne und Künstlern reihte Kolaric vier Evos-W7-LED-Wash-Lights mittig in der Backtruss nebeneinander, ergänzt um die Auro-Spoz-Z300-LED-Spot-Moving-Heads für Gobo-Projektionen und Mid-Air-Effekte.
Für die Beschallung der Vecer Stage setzte das Lent-Team eine Kombination aus geflogener Maila XXL als Main-PA sowie Maila-M-Groundstack-Sets für die Outfills und Delay Lines ein. Im Bassbereich nutzte das Audio-Team die Cardioid-Funktion der Maila-Subwoofer, um die rückwärtige Schallausbreitung angesichts der nahen Steinwände hinter der Bühne zu reduzieren.
(Fotos: Adam Hall Group)
Wisycom ensures full-spectrum RF coverage on Metallica world tour
Before heading out on the road with Metallica for the “M72 World Tour”, which is performed in the round, live sound monitor engineers and technicians Mike “Mic” Bollella and Robert “Bob” Cowan looked to expand the band’s RF coverage with a solution that could be used worldwide. In collaboration with RF tech Stacey Handley they selected Wisycom MTK982 Dual Wideband Transmitters.
According to Bollella, the upgrade to Wisycom has been beneficial for a variety of reasons. “First and foremost, the jump in spectrum that we can use, not only in the U.S., but worldwide, is incredible”, he says. “It is really beneficial to not have to rent additional gear for shows in markets with troublesome RF. Secondly, the technology behind the Wisycom combiners is powerful and advanced. It allows us to space the transmitters closer together when needed without worrying about certain intermod artifacts.”
As for the system’s RF-over-fiber technology, he adds: “We do not mix on stage for these in-the-round shows; most of the time, we are upwards of 500-feet away, so we need solid coverage wherever we end up. Wisycom was the only manufacturer that we spoke with that was up for that challenge, and it succeeded in every way.”
As one of two monitor engineers on tour with the band, Bollella mixes for guitarist Kirk Hammett and bass player Robert Trujillo, in addition to handling the monitor tech’ing portion of the system, while Cowan has mixed for drummer Lars Ulrich and frontman James Hetfield for more than fifteen years. In conjunction with the Wisycom system, Bollella and Cowan mix on two gain-sharing Avid S6L desks with E6L-192 engines, along with 36 Meyer Sound MJF210 and eight MJF212 wedges on stage.
Metallica’s “M72 World Tour” kicked off in Amsterdam on April 27, 2023, in support of the studio album “72 Seasons” and will wrap on September 29, 2024, in Mexico City.
Pictured (left to right): Metallica tech team members Bob Cowan, Stacey Handley and Mike Bollella. (Photo: Wisycom)
Will Pan world tour kicks off with EAW
Will Pan, a Taiwanese-American singer, songwriter, rapper, actor and entrepreneur, embarked on his 2024 “Mad Love” world tour with the help of MaxTeam, one of the largest pop music performance service teams in China, and Chinese AV solutions provider EZPro, which provided the professional PA equipment at a variety of locations including Qingdao, Hangzhou, Guangzhou, Shanghai, Beijing, Nanchang, Hefei, Xi’an and Chengdu. This PA package included Eastern Acoustic Works (EAW) Adaptive Anya arrays and Otto subwoofers.
The “Mad Love” Tour kicked off earlier this year at the Hangzhou Olympic Sports Center Indoor Stadium, with a total of 24 EAW Anya enclosures (twelve on each side) as the main PA system. The speakers were flown to a trim height of thirteen meters and covered the near and far seating using EAW’s Resolution 2 software to dictate start and stop coverages for the system.
The out-fill system utilized ten Anya enclosures (five on each side) to complete the sound field coverage of the auditorium area on both sides of the stage. EAW Otto Adaptive subwoofers were also installed on both sides of the stage entrance for low-frequency extension.
(Photos: Eastern Acoustic Works/Ymhui)
Martin Audio WPL deployed for Pandora y Flans US tour
All-female Mexican vocal groups Pandora and Flans recently undertook a 17-city theatre and arena tour of the US, mostly visiting the Southern States. The Inesperado (“Unexpected”) tour, as it was known, was supported by a large inventory of Martin Audio WPL line array, provided by New Mexico-based rental partner High End-RG Productions.
Martin Audio’s Wavefront Precision PA was deployed, twelve boxes per side for the group’s FOH sound engineer Luis Quiñones. High End-RG Productions president Enrique Ortiz confirmed that the PA set-up had been designed in collaboration with system engineer Orlando Calzada, with the twelve SXH218 subwoofers set in an L/R cardioid configuration, six enclosures per side, providing the LF extension.
Responsible for outfill dispersion were eight W8LC on each wing, with eight Martin Audio FlexPoint FP8 acting as front fills, with eight WPS on top of a pair of SX218 subs providing sidefill coverage. This was all powered in 2-box resolution by a combination of four Martin Audio iKon iK42 four-channel amp racks, while a pair of Linea Research M48-20 racks, from their Focusrite Group partner, powered the W8LC outfill hangs. With just two exceptions, the full complement of speakers was deployed at all venues.
From a sound perspective, the tour was split into two, with Orlando Calzada taking on system tech duties for the first half, to be replaced by Enrique Ortiz for the latter part. “Between us, we made the design and prediction in Display 3, and Luis Quiñones then optimised the alignment of the PA”, explains Ortiz. “We used the ‘Hard Avoid’ function whenever it was needed.”
Ortiz’ production team had worked closely with Martin Audio tech support to achieve the optimum result, and win the satisfaction of both Miriam Rodriguez, the group’s production manager, and Felix Ovalles, production manager of the promoters. Enrique confirmed, “Martin Audio were extremely supportive”, says Ortiz. “Jim Sage provided some additional equipment to ensure we achieved the best outcome, and we received excellent tech support at the start of the tour, when it was especially important, from Will Harris.”
(Photos: Martin Audio)
Avolites D9 controls Arcadia Dragonfly lighting and video
Avolites’ D9 lighting console and an Avolites AI Qgen media server (with another for hot backup) running Avo’s proprietary Synergy protocol were at the heart of lighting and video control for Arcadia Spectacular’s new live music/performance experience launching their Dragonfly conceptual art installation which debuted at the 2024 Glastonbury Festival (Glasto) in Pilton, Somerset, UK.
Originated and designed by Arcadia’s Pip Rush (creative director) and Bert Cole (technical director), the 30-metre-long, 8.5-metre-high biomechanical Dragonfly is built from an ex-Royal Navy Sea King helicopter and was surrounded by a 50,000-capacity evolved geometric “energy field” at the festival. The sculpture “awakened” every night of Glasto at 23:30, presenting “Warraloo”, a 9-minute show developed by Arcadia in collaboration with the Wadjuk Noongar nation of Western Australia and based on the Dragonfly’s pupation cycle.
The Dragonfly head is covered with over 200 custom hexagonal and pentagonal LED screens, the legs were pixel mapped, the body was projection mapped, and over 200 lighting and LED pixel fixtures were rigged on the construction and dotted around the Arcadia arena, all vital elements of the production lighting scheme created by Dave Cohen from design studio Mirrad. Mirrad was also responsible for designing and supplying the full lighting and visual control system and all the related integration.
Music lovers were treated to a lineup of local and international DJs who played well into the night throughout the 3-day festival, and Arcadia also presented its new 9-minute timecoded performance show - complete with aerialists, fire, lasers, other SFX and massive excitement. In addition to the Dragonfly, four sets of scenic bull-rush podiums, also created from recycled scrap metal, circled the space, two of them doubling as performance areas for elements of the timecoded show. Six 11-metre-high lighting towers were positioned around the outside of the arena, rigged with - among other lighting fixtures - six of Robe’s new searchlight style laser-lightsource iBolts.
Cohen explains that lighting for the event was 95 percent operated live or busked, only the Arcadia shows were timecoded. So with operating sessions of five hours or more, the Avolites D9-330 was his desk of choice for this style of operation. A major creative challenge was ensuring that the Dragonfly was well lit and getting plenty of light into the arena and amongst the crowds to help keep the atmos pumping whilst maintaining the structural integrity and look of the Dragonfly as a piece of industrial art.
Cohen and Mirrad’s Sam Werrett operated Arcadia’s lighting for all artists across the Glastonbury weekend working in close conjunction with the live visuals team featuring Australian artists Peter Walker and Brad Hammond. They used Touch Designer and Unity to bake these visuals onto a UV map, which was mixed by Joe Crossley from Astralprojekt using a MIDI controller.
Using Avolites Synergy to unite the worlds of video and lighting control enabled Cohen and Werrett to see the NDI previews of the visuals being created and instantly match or contrast colour-wise with lighting and crossfade between outputting lighting and video feeds. All the timecoded parts were previzzed in WYSIWYG - using a model of the helicopter - and fine-tuned on site, and they also had a WYG set up on site, networked to the FOH which enabled video and lighting and video to be processed in the same previz environment.
The two D9 consoles - live and backup - were run in multi-user mode, allowing looks, combinations and effects to be prepared and trialled on one and then output on the other as the evening progressed. Coordinating the AI media server side of the control for Mirrad was Arran Rothwell-Eyre, one of the original team behind AI, and Greg Haynes from Avo provided additional tech support. The LED screen design and installation for the head of the helicopter was created by Ben Vaughan and Video Illusions.
The connection between Avolites, Mirrad and Arcadia goes back to 2012 and the famous Spider and their “Metamorphosis” show. An Avolites console has been running their lighting ever since then, and they first implemented Synergy and the AI servers in 2015 which became a crucial part of their touring shows.
(Photos: Steve Bright)
Elation Fuze and KL highlight “The Twist Years” at Paris’ Eiffel Tower Theatre
“The Twist Years” at the Eiffel Tower Theatre in Paris follows a group of young people who traverse the moral and social revolutions of the tumultuous 1960s through some of that decade’s formative music. Recounted via music classics of the era, from French and international artists, all songs are presented live beneath an Elation rig of Fuze Profile and KL Profile FC luminaires.
Boris Jacob from Elation’s French distributor Best Audio & Lighting handled lighting design on the project. He used some of the Fuze Profiles as keylighting to illuminate the artists’ faces using the built in framing blades and color temperature control with the remaining Fuze Profiles set on stage to project gobos and cut out scenery elements.
Atmospheric haze and mid-air projection canopy came courtesy of a Therma Tour 600 from Magmatic atmospheric effects. Producing a fine, long-lasting haze, a water-based fluid was used to allow for total protection of the eight artists’ vocal chords, as well those of the accompanying musicians and technical crew. The 350 W Therma Tour 600 creates an odorless haze effect that leaves no residue.
Stemming from the early 1900s, the Eiffel Tower Theatre was renovated in 2016 and reopened in 2017. Due to its historical heritage and a varied program of musical shows, comedy, and plays, it has managed to find a place among the pantheon of Parisian theaters. “The Twist Years” will be back at the Eiffel Tower Theatre in October 2024 and will be touring in 2025.
(Photos: Justine Lephay)
SWG Events partners with 22live to deploy Martin Audio WPL for BS3 Festival and Kings of Leon
SWG Events joined forces with Martin Audio network partner 22live recently to field eighty premium loudspeakers from the British manufacturer at Ashton Gate, home of Bristol City FC, over one weekend.
The Saturday event, called “Ashton Gate Presents BS3”, saw American singer-songwriter Ne-Yo headlining a 10-act bill that included Craig David, Jess Glynne, Dizzee Rascal, DJ Spoony, and Roni Size, in front of a 27,000-capacity crowd. The staging then changed for the Sunday, which saw Kings of Leon playing the venue as part of their “Can We Please Have Fun” world tour.
SWG Events’ head of sound, Simon Purse, explains the PA design which he had overseen: left and right main PA comprised drops of sixteen WPL, supported by two outhangs of twelve elements in each. There were a further two delay towers of twelve drops each, making a total complement was eighty WPL line array cabinets deployed. These were driven in 2-box resolution from Martin Audio’s process-controlled iKon amplifiers. A further 24 of the smaller Martin Audio WPS arrays provided frontfills, with Torus on sidefills and XE500s as optional reference monitors for those artists not on IEM.
Reproducing the low frequencies were a total of forty SXH218 - thirty in a split broadside array across the front of the stage, to enable a stage thrust to move in on the Sunday, with a further three in each delay position and a monitor for the DJ. Simon Purse’s original CAD design was transposed into Martin Audio’s D3 software, where system tech Ryan Bass took over. “I made a few tweaks, but everything was largely based on Simon’s original design”, he says.
Purse adds that the biggest challenge had been in mitigating typical stadium reflections: “There were a lot of hard surfaces, a lot of weird roofs, strange reflective screens that we had to try and avoid. We used Martin Audio’s modelling software to optimise where and how we deployed and pointed the system. At the same time we used ‘Hard Avoid’ (in the D3 software) in the areas that we were actively trying to get rid of. So a mixture of PA design and software enabled us to achieve full system optimisation once everything was in place.”
(Photos: Ryan Bass)
Eighth Day Sound supports “UniverSoul Circus”
“UniverSoul Circus”, one of North America’s most-loved family friendly, non-stop action productions, is celebrating thirty years of touring activities in 2024 with its inclusive ethos, which extends to welcoming Eighth Day Sound back for the sixth year. Sound design services and equipment delivery are overseen by Eighth Day Sound’s Sean Sturge.
This year, “UniverSoul Circus” has ten acts from multiple continents, reinforcing its position as a cultural live entertainment offering. “The idea here is to bring everyone from different cultures together”, says Production Manager Kabelo Mashobane. “Soul doesn’t have a color. It doesn’t matter where you are from, when it comes to seeking entertainment, we all speak the same language.”
To convey the messaging behind the circus’ new show, Kabelo explains: “Our audio delivery is unique; we have a lot of dynamic sounds due to our different acts bringing their own regional take. From classical ballet songs to Afrobeat, to Soca music from the Caribbean, we have something for everyone.”
Running from a big top tent for up to six weeks at a time across US cities, there were two main priorities when it came to designing a compact touring audio system: unified audience coverage and ease of installation. “The tent structure and the logistical needs of the performers dictated any PA constraints”, says Eighth Day Sound’s Chris Berry. “The majority of the flown production elements are required to hang from the circular truss suspended above the center ring, so deploying a system from the center and following the shape of the roof structure to minimize reflections was key.”
“The performance area of the tent is in the center with the audience wrapped around 300 degrees of its perimeter”, he continues. “Given the weight and spatial limitations of the flown circle truss, the sub system couldn’t be suspended with the line array. As the center of the room is the performance space, having the subs as a distributed cardioid system and placed under the bleachers was also key.”
“Eighth Day Sound listened to what we needed and gave us an audio design that complements all our sounds”, furthers Kabelo. “Afrobeat songs need that low end, the ballet songs hit those mid and high tones, and if there’s a violin playing, you’ll be able to hear the sound very clearly. No genre is left behind and that’s important to everyone.”
(Photos: Tim Pethel/EiSpielberg)
Cort Lawrence and Raw Cereal animate Hardy tour with LD Trevor Drawdy and Chauvet Professional
Supporting multi-CMA Award winner Hardy’s performances on his 15-city arena/amphitheater tour this summer was an immersive production design by Cort Lawrence and the team at Raw Cereal. They created a sense of depth on the stage and conveyed the artist’s story with content displayed on a massive video screen supported by light from 233 Chauvet Professional fixtures from Bandit Lites.
“The design for this tour utilized a simple and minimalist style, featuring a large upstage video wall that set the backdrop for Hardy, immersing him in content that represents his music”, explains Lawrence. “The ideas for all the creative aspects started with Hardy and flourished into unique visuals.”
“By working with lighting director and programmer Trevor Drawdy and using 85 Colorado PXL Bar 16 battens, we created sheets of light that blended well with the video content to enhance the range of Hardy’s performance”, he continues. “Our team at Raw Cereal provided show design and direction, as well as new video content for Hardy’s newest songs, ensuring that the visual elements matched the diversity of his music. It was crucial to maintain a balance between simplicity and impact, allowing each light fixture to have its moment while blending cohesively with the overall design.”
Hardy’s diverse music also influenced decisions regarding the layout of the stage itself. The tour’s stage featured six finger trusses, each 24 feet in length, trimmed at an average of 25 feet, while the video wall is 60 feet wide by 23 feet tall and hovers about four feet above the stage floor.
“This setup optimized the use of space and lighting for a cohesive visual experience”, says Lawrence. “In addition to the lighting and video elements, special effects elements including eight cryo jets, six wave flames, and five fire salamanders that shot fire from underneath a grated platform, contributed to the impact and flexibility of the rig.”
“We managed a total of 52 DMX universes to control the lighting and special effects”, adds Drawdy. “This extensive setup allowed us to create intricate and dynamic lighting designs, ensuring each performance was visually captivating. The integration of multiple universes provided the flexibility and precision required for Hardy’s high-energy shows.”
Speaking of the role played by one of the fixtures in this highly adaptable rig - the Colorado PXL Bar 16 - Lawrence notes: “The extensive use of pixel bars was essential for achieving the desired visual effects, enhancing the depth and dynamics of the stage design. They played a crucial role in creating the immersive and cohesive lighting looks throughout the show, washing the stage with soft and flat beams that did not detract from the video content. Hardy and the band liked to huddle together at certain points of the show - finding themselves on the riser set surrounded by PXL Bars created an island full of light for them.”
Hardy’s frequent singalongs were another element that influenced the lighting design, as it required visuals that enhanced audience participation. “The lighting techniques focused on creating an immersive experience to encourage crowd interaction”, says Lawrence. “The small usage of lyrics within the video content helped the audience to sing along to the new music. The use of pixel bars and a cohesive color palette helped in achieving this effect, making the singalongs a memorable part of the concert.”
On the subject of colors, the diversity of the tour’s lighting rig, which included 36 Color Strike Ms, 54 Maverick Storm 1 Hybrids, 28 Rogue R2X Washes, 12 Rogue R3 Washes, and 18 Strike Array 4 blinders, in addition to the PXL Bars, has given Drawdy the opportunity to reflect the music on stage in a broad range of colors.
Following an approach that he describes as “both methodical and intuitive” when selecting his colors, Drawdy’s aim was to create a palette that complemented Hardy’s blend of music. “For songs with emotional depth, such as ‘Wait in the Truck’ featuring Lainey Wilson, I used a base of blue with visual ‘jail bars’, created by using the PXL Bar 16s in CTB”, he says. “The chorus hits were highlighted with CTO, reflecting the song’s themes of justice and confinement and adding intensity to key moments.”
“Conversely, for energetic tracks like ‘Sold Out’, I chose a palette of red and white. These colors captured the rebellious and bold spirit of the song, energizing the audience”, continues Drawdy. “Over the years, I’ve identified certain colors that resonate with specific songs, becoming visual signatures. For example, the themes of pride and rural identity in ‘Rednecker’ are represented with bold green and amber tones, reinforcing its message through visual consistency.”
With new songs incorporated into the setlist for this tour, Drawdy has had the opportunity to experiment with fresh color combinations. For example, the new song “Six Feet Under (Caleigh’s Song)” inspired him to use stark white lighting to emphasize its intense and haunting themes of love, loss, and the afterlife. “The white lighting created a powerful contrast, highlighting the emotional gravity and reflective nature of the lyrics”, he explains. “I also take input from Hardy and the band on what they like to see, ensuring that the visual elements align with their vision and enhance the overall performance.”
Lawrence singles out “Six Feet Under” as one of the show’s highlights for him: “In this song, the video content showed a diamond that bursts, with the pixel bars mimicking the reflections and prismatic rays of light.” Among Drawdy’s favorite looks in the show was the design for “Jim Bob”, a song about a rugged man living life on his own terms. “The dynamic lighting and special effects captured the energy of the song”, he says. “I used a gritty, red color palette and intense lighting effects to mirror the raw and rebellious spirit of the lyrics.”
Another highlight for Lawrence and Drawdy was the level of teamwork that went to making his show a reality. “It takes a team to put together a great show and Hardy has one of the best, thanks to production manager Matt Bevis”, says Lawrence. “Jose Santana provided excellent video programming. Additionally, Terry Park, the pyro programmer, and Rico Lafuente, the pyro operator and special effects lead on the tour, significantly contributed to the success of the production. Matt Geasey and Bryan Siegel of Clear All Visuals were also crucial in the technical production phase.”
Also coming in for praise is Bandit Lites: “My relationship with Bandit Lites began with their former vice president Mike Golden, who gave me my start in Nashville”, says Drawdy. “I’d like to extend a special thanks to our client representative at Bandit, Mike Stanley.”
(Photos: Chauvet Professional)
Hippotizer supports Electric Forest Festival
Rothbury, Michigan’s multi-genre Electric Forest music festival ramped up its AV offering this year, with the Sherwood Court stage’s proscenium arch LED screen displaying content powered by TVOne’s Green Hippo brand of Hippotizer Media Servers, which are distributed by ACT Entertainment in North America.
Visual solutions company Observatory, which has provided scenic visual content and delivery/VJ services for Electric Forest’s Sherwood Court Stage since 2022, were brought on by Leisure Expert Group, the Creative Directors of Insomniac, who part own the festival. Observatory’s Simon Harris and his team worked closely with Leisure Expert Group to transform their visual brief into animated visual content.
To realize the visual delivery, they specified two Green Hippo Hippotizer V4 Tierra+ MK2 Media Servers, provided by Screenworks NEP, with setup assisted by Ashley Hazlett. “We used an array of Hippotizer components including MediaManager, MultiController, VideoMapper and PresetManager for this project, knowing that the video content needed to be displayed throughout the four-day festival”, explains Harris. “I made speed and color changes to the scenic content as required, while also triggering Hippotizer FX for the LED proscenium arch.”
“I had two 7K mixes to cover the proscenium arch LED screen, and an extra HD mix I used for VJing artist supplied content on the US LED wall when an operator was not present”, he adds. The main content themes for the Sherwood Court stage revolved around nature, focusing on trees, water, jungle, vines, butterflies and the famous Sherwood elephant, many of which appeared within an overarching stained-glass aesthetic.
“We prepared a deck of the scenic content, which was shared with incoming artists, so they could choose what and how it was displayed during their performance”, continues Harris. “For all content, I relied on MultiController, giving my control devices access to the engine and PresetManager to recall pre-programmed FX, colors and preset mixes that use multiple layers to create the overall composition. I had a custom TouchOSC interface running on an iPad Pro - that allowed me to first select one or multiple layers with an X-fade time before recalling color presets with seamless transitions.”
Among the standout performances on the Sherwood Court stage this year were CloZee and LSDream, G Jones, Maddy O’Neal, Chase & Status and many others.
(Photos: Alive Coverage for Electric Forest)
Space Hub von Coda Audio auf Tournee mit 6K United
Die diesjährige, von Mitte bis Ende Juni andauernde Tournee des vor sieben Jahren gestarteten interaktiven Projekts 6K United führte den rund 6.000 Stimmen zählenden Kinderchor samt 16-köpfiger Begleitband erneut durch Deutschlands größte Spielstätten, darunter die Münchner Olympiahalle und die Hamburger Baclays Arena.
Das Team der Melodus GmbH um Co-Geschäftsführer Olli Tschotow - seit 2019 für das Audio-Design zuständig - setzte dabei die Nahfeldbeschallung mittels des immersiven Audiosystems Space Hub von Coda Audio um. „Man hat mit einem immersiven Audiosystem einfach mehr ‘Raum’ im Mix als mit einer klassischen Stereo- bzw. Mono-Nahfeldbeschallung“, erklärt er. „Man hört die Künstler an der Position, wo man sie auf der Bühne sieht. Das zeichnet ein immersives 3D-Hörerlebnis aus.“
Das in Bad Hersfeld ansässige Melodus-Team setzte Space Hub als immersiven Prozessor mit 24 Quellen für die Nahfeldbeschallung ein. „Der Hub hat aus elf Frontfill-Lautsprecheren eine akustische Front gebildet, auf der wir die Künstler positionieren konnten“, führt Tschotow aus. „Es war perfektes ‘Plug & Play’.“ Eine Dante-Schnittstelle mit 128/128 Kanälen habe die Integration zu einem „Kinderspiel“ gemacht.
(Fotos: David Reza Dehghani Sanij/Filmreif)
Lichtwerk nutzt Robe-Scheinwerfer für CollectiveFour auf Berliner Fashion Week
Die Berlin Fashion Week bzw. Berliner Modewoche ist eine seit 2007 zweimal jährlich stattfindende, rund eine Woche andauernde Veranstaltungsreihe in Berlin. Während der Modewoche werden Modenschauen, Messen, Ausstellungen, Installationen und Konferenzen für Fachpublikum und Öffentlichkeit abgehalten. Bereits zum dritten Mal fand das größte Event im Rahmen der Berlin Fashion Week in der Uber Eats Music Hall in Berlin statt.
Bisher bekannt unter „We.4“ und nun unter dem Namen „CollectiveFour“, haben sich die vier Fashion Designer Rebekka Ruétz, Danny Reinke, Marcel Ostertag und Kilian Kerner zusammengeschlossen, um ihre aktuellen Kollektionen dem Fachpublikum zu präsentieren. Der Erlös der Ticketverkäufe wurde an „Children for Tomorrow“ sowie den Tierschutzverband Berlin gespendet.
Martin Uteß von der Lichtwerk Veranstaltungstechnik GmbH aus Berlin zeichnete für das Lichtdesign verantwortlich. Er entschied sich u.a. für zwölf MegaPointes, zwölf LEDBeam 350 und vierzig LEDBeam 150 von Robe Lighting. „So unterschiedlich die Looks der vier Designer waren, so unterschiedlich mussten meine Lichtdesigns zu den einzelnen Shows sein“, sagt Uteß.
Die MegaPointes waren im Backdrop in sechs Leitertraversen links und rechts der mittigen Leinwand positioniert. „Die vielen Funktionen ermöglichten mir sowohl kräftige Beamshows, 70er-Jahre-Disco-Looks, als auch die Nutzung als Spitzlicht für den Runway“, so Uteß. Ergänzt wurden die MegaPointes durch LEDBeam 150, die im Backdrop den Raum in Farbe hüllen oder die MegaPointe mit ihren Beams untersützen konnten. „Ich war sehr froh, dass die Uber Eats Hall bereits mit ihnen ausgestattet ist und wir auf sie zurückgreifen konnten.“
Das Hauptaugenmerk lag auf der Ausleuchtung der Models. Außerhalb des eigentlichen Runways liefen diese einen vollständigen Kreis, um allen Gästen einen genaueren Blick auf die Kollektionen zu ermöglichen. Um hier den Fokus zu lenken und den Raum nicht unnötig zu erhellen, wurden die Models mit jeweils drei Scheinwerfern per Remote-System verfolgt. Die LEDBeam350 waren in den drei Überkopf-Traversen positioniert, die parallel zum Catwalk mittig und über dem Publikum geflogen wurden.
(Fotos: Lichtwerk Veranstaltungstechnik GmbH/Michael Wittig)
