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Andy Webb turns to Robe for UK panto shows

01/02/2023

Henk-Jan van Beek selects more than 250 Robe fixtures for Dutch “1% Quiz” TV show

30/01/2023

Roland Kaiser tourt mit Zactrack Smart und Martin MAC

26/01/2023

MHB und Elation beleuchten Reitturnier Indoor Friesland

26/01/2023

El Monstero’s Pink Floyd tribute lit with Vari-Lite VL1600 Profile

25/01/2023

Green Hippo media servers drive graphics at Finland’s JouluMielelle charity concert

25/01/2023

Robe RoboSpot systems for “School of Rock - The Musical” in Sydney

24/01/2023

Pawel Pajak chooses Ayrton for Dawid Podsiadlo stadium shows

24/01/2023

Coda Audio beschallt Nuejazz-Festival im Nürnberger Z-Bau

23/01/2023

HOF entwickelt und installiert Meta Cube Stage für Karpe

20/01/2023

“Boyband Tour” kicks off with Robe

20/01/2023

Elation’s Proteus Excalibur welcomes in 2023 on New Year’s Eve London show

18/01/2023

Ayrton supports celebration of the life and work of lighting designer Mikki Kunttu

18/01/2023

Hamburger Rathausmarkt Open Air mit Pro-Ribbon-Systemen von Alcons Audio

13/01/2023

Ayrton Bora and NandoBeam S6 light “West Side Story” in Cagliari

13/01/2023

TDC’s use of laser projection technology sets continued focus on sustainability at Sydney Festival

12/01/2023

Amsterdam Music Festival lit with Robe

11/01/2023

DPA microphones complement Roomful of Teeth’s vocals in recorded and live applications

06/01/2023

MHB illuminates equestrian event Indoor Friesland with Elation KL

04/01/2023

Red Rover delivers adaptable Elation rig for Faouzia tour

28/12/2022

DPA’s vocal and instrument microphones assist varying musical performances

28/12/2022

BTL-X setzt LED-Leuchten von Roxx bei Deutschem Nachhaltigkeitspreis ein

27/12/2022

The Design Oasis chooses Chauvet IP65 fixtures for Jamrock Reggae Cruise

27/12/2022

Zeusaudio beschallt Christmas Garden Koblenz mit Audac-Outdoor-Lautsprechern

23/12/2022

SR Showtechnik baut Weihnachtsbaum aus Litecraft-Truss

23/12/2022

Andy Webb turns to Robe for UK panto shows

The UK’s Festive holidays ignited the British performance phenomena of pantomime which came to theatre stages up and down the UK. This year lighting designer Andy Webb was asked to design two panto shows - “Aladdin” at the Waterside Theatre in Aylesbury and “Beauty and The Beast” at the Festival Theatre in Malvern, both for UK Productions (UKP) - for which he chose a selection of Robe moving and LED luminaires.

 

“Rule number one in panto lighting is keeping up with the fast-and-furious pace of the action whilst informing the narrative and captivating the audience’s attention”, explains Webb. Audience participation is a major aspect of any panto production. In the last decade, Webb has been among the trailblazers advocating the use of LED and moving light sources in panto. He has dipped extensively into the various Robe product ranges, and lit several seasons in Blackpool and other cities.

 

The theatres in Aylesbury and Malvern are very different in size and shape, and to facilitate the programming schedule, Webb chose primary lighting fixtures which would work in both contexts and be scalable to fit the two venues, with Robe Spiiders and Esprites as the main workhorses. Five MegaPointes were the primary effects lights on both shows, but apart from these, the other Robe fixtures were all LED, and these were combined with luminaires from the house rigs of both venues.

 

 

“Aladdin”

Webb had lit the 1200-seater Waterside Theatre’s 2021 panto season, so he was familiar with the space and the house crew. He made full use of all seven available LX bars distributing five Robe Esprites and six Spiider LED washes on LX 1 and 2 to provide all the main over-stage looks. These seven bars were part of a grid of 53 bars, with all the rest utilised for hanging cloths and scenery pieces apart from two.

 

The MegaPointes were needed for all the flying carpet scenes and to create the massive aerial and big rotational lighting looks integral to creating the magic of this illusion. Eleven LEDBeam 150s on LX bars 4 and 6 were deployed for mid-stage specials. These bars flew in and out and were trimmed at different heights throughout the performance and were vital to the lighting of the sumptuous musical “production numbers”.

 

More LEDBeam 150s were rigged on the pros arch drop down ladders where they could fire light along the front of the stage and also create movement going out into the audience. They also assisted in the flying carpet reveal.

 

Webb’s design used eight Robe ColorSpot 700E ATs, four on a split bar straddling the palace wall set piece, with the other four on the same pros arch drop down ladders as the LEDBeam 150s, where their main task was skimming and texturing the side cloths. They also augmented the audience lighting looks.

 

Webb’s FOH rig at Aylesbury included Robe ParFects which added fill where needed from their advanced bar positions, together with an additional pair of Esprites on the circle front. On LX2 he deployed eight CycFX8 moving LED battens rigged at different trim heights for fanning out into the auditorium and creating columns and shafts of light that were fundamental to lighting the cave scene, where he wanted a specific “runway” effect.

 

A pair of Spiiders on the bottom of the pros ladders punched in at head height along the front stage apron. The house’s static LED profiles also fired in from the side cuts and boom positions, with generic Source Fours at FOH creeping in subtly to lift the face coverage. Webb observed that all the Robe fixtures were “spot on” for matching the warm QCT206 orange and the cooler 063 Pale Blue of the generic face light filters.

 

Webb operated the nearly 300 lighting cues in an Avolites Tiger Touch II console for two dress rehearsals himself, before handing over to the Waterside house lighting team for the 4-week run. Fog and haze were also running through the console, and the show was generally SFX heavy with multiple pyro moments.

 

 

“Beauty & The Beast”

To fit the more compact environs of the Malvern Theatre, Webb spec’d three Esprites and four Spiiders, rigged in near identical positions on LX2 as the fixtures in Aylesbury, with another four Esprites and five Spiiders on LX2, picked for the same reasons to cover all bases.

 

In this production, his upstage MegaPointes were again used to create and enhance the magic and key theatrical moments, like the transformation of the Beast at the start of Act 2. Again, they were used for aerial work where definition and beams were needed, and for general effects and razzamatazz that dissected the Spiider and Esprite stage looks.

 

ParFect 150s on LX4 were used for shafts of light peeping over the top of the west wing set, with a pair of ParFect 100s as pipe-end cuts on each of the five onstage bars. Robe’s compact LEDWash 300s were spread out on the lower levels of the pros ladders, approximately 10 ft from the stage.

 

Two DL4S Profiles were rigged on the front of the circle balcony and used to texture the stage cloths and front curtain, together with four ParFect 100s in the same position. Four Spiiders on the advanced bar provided extra fill and were utilised to spin out across the audience for interactive moments, working in conjunction with a pair of MegaPointes on the FOH pros perch to assist with the transformation scene.

 

“Beauty & The Beast” featured some bleed-through reveals via gauze curtains, a task for which the Esprites were used. This show also featured plenty of effects - serious smoke content with glaciator foggers, and Salamander flame effects in the orchestra pit which were fired through the lighting console, also an Avo Tiger Touch II.

 

Webb collaborated closely with his production LX Shaun Ellis on both shows. All the Robe moving lights and LED fixtures were supplied by Cambridge based CEG who supplied a total of four UKP pantos this season including these two.

 

(Photos: Lindsay Cave/Shaun Ellis)

 

www.robe.cz

 

Henk-Jan van Beek selects more than 250 Robe fixtures for Dutch “1% Quiz” TV show

The first season of the “1% Quiz” TV quiz show in the Netherlands was recorded at EMG’s Mediahaven Studio in Amsterdam with a lighting design by Henk-Jan van Beek of design studio Light-H-Art. This featured 110 x Robe Esprites, 98 x LEDBeam 350s, 46 x LEDBeam 150s and 20 x T1 Profile moving lights, all delivered by Eventec.

 

Dutch producers Blue Circle Productions added a few of their own exclusively Dutch elements as this was the first time the show concept has been produced outside the UK where it originated on ITV. One hundred contestants - who are also the audience - try to answer a question that only one percent of the country can get right. The show is styled as an IQ test with questions based on logic and common sense rather than general knowledge.

 

Henk-Jan van Beek worked closely with Dutch set designer Harald Kassies who took the original “1% Club” signature set design and reimagined it with some small adaptations that saw all 100 contestants seated around a 270 circular set. “Continuity was absolutely vital when it came to lighting”, explains van Beek who needed one luminaire per person to replicate the fast-paced and complex set of cues that were integrated into the Market Graph gameplay machine.

 

The key light for each contestant was aligned at the same distance to produce identical CT whites plus blue and red cues associated with the game cues as well as front lighting. Also, these 100 Esprite fixtures had to fit into tight spaces allocated on three circular trusses rigged at slightly different levels in the roof, approximately 13-14 metres from the contestants.

 

Host Tijl Beckand stood in different positions in the middle of the set, and the space between the two ends of the 270-degree set seating piece was filled with a large LED screen showing the game play status. The additional ten Esprites were used for covering these presenter positions from back and front, so he could move around freely and be picked up by any one of the thirteen cameras with face lighting. Michael Moser was the camera director.

 

The twenty T1 Profiles provided additional key lighting and specials. The LEDBeam 350s were positioned in a spherical shape around the studio floor inside the centre of the set and on the largest of the overhead circle truss at the back. The LEDBeam 150s were additionally used for back and fill lighting on the contestants/audience and to ensure there were no back-of-shot “black holes”.

 

The biggest challenge for Eventec was sourcing enough Esprites for the six-week period of set up and recording for two season’s worth of programmes. Seventy-five percent of the fixtures were sourced from Eventec’s own stock according to their manager of operations, Stefan Bensch. However, as they were also busy with other shows, some cross rentals were necessary to make up the large numbers, and these came from France, Belgium, Germany, and Sweden.

 

Lighting was programmed on a GrandMA3 console by Edwin Zuidwijk from Light-H-Art, which was linked to the main games machine that fired all the cues. Camera Director was Michael Moser. The eight days of shooting allowed the team to record two series - two shows a day - of the Dutch production which will be aired on VTM in summer 2023.

 

(Photos: Nathan Reinds)

 

www.robe.cz

 

Roland Kaiser tourt mit Zactrack Smart und Martin MAC

Roland Kaiser tourt mit Zactrack Smart und Martin MAC
Roland Kaiser tourt mit Zactrack Smart und Martin MAC

Seine „Perspektiven“-Tour führt Schlagerstar Roland Kaiser seit Ende Oktober 2022 bis März 2023 durch die größten deutschen Hallen. Gruppe20 Veranstaltungstechnik aus Augsburg, ein Unternehmen, das seit mehr als sechzehn Jahren sämtliche Shows und Tourneen des Sängers betreut und mit Licht und Rigging ausstattet, nutzt auf der aktuellen Tour neben Martin-MAC-Moving-Lights auch ein Zactrack-Smart-Trackingsystem.

 

Gewerkeleiter Boris Zernikow und sein Team verwenden das Zactrack-Smart-System, um fünf Akteure auf der Bühne mit acht Moving Lights vollautomatisiert zu verfolgen. Dazu tragen die Künstlerinnen und Künstler ca. 35 x 60 x 10 mm große Sender, die Zactrack-Tracker, welche die Positionsdaten an insgesamt elf auf der Bühne verbaute Zactrack-Anchor-Antennen übertragen. Diese Positionsdaten werden von einem Zactrack-Smart-Server für die Steuerung der Scheinwerfer verarbeitet.

 

Das Lichtsetup für das automatisierte Tracking umfasst zwei Martin MAC Ultra Performance, die an einer Traverse über dem FOH montiert sind und als Frontlicht für Roland Kaiser fungieren, zwei MAC Viper Wash DX als Gassenlicht für den Sänger sowie vier MAC Viper Wash DX an der gebogenen Fronttruss für vier Musiker.

 

Die restlichen zwölf MAC Ultra Performance hängen in der sogenannten „Krone“, einer runden Traversenkonstruktion über dem Bühnenmittelpunkt, die einen optischen Fixpunkt im Setdesign bietet. Zudem setzt Lichtdesigner Andreas Kisters insgesamt zwanzig Martin-MAC-Aura-PXL-LED-Washlights mit individueller Pixelsteuerung ein.

 

Über entsprechende Kanäle und Cues in der Lichtkonsole werden die (im Zactrack-System gepatchten) Lampen den einzelnen Künstlern zugeordnet. Im Zactrack-Smart-Server ist hinterlegt, welche Funktionen von der Konsole und welche vom Zactrack-System gesteuert werden sollen. Darauf aufbauend merged der Smart-Server die Befehle und sendet diese zurück ins Lichtsystem. Die Anchor und der PC zur Überwachung werden über das ZacNet-Netzwerk verkabelt, die Anbindung der Main- und Backup-Server an die Lichtkonsole erfolgt via sACN.

 

Die Einrichtung des Zactrack-Smart-Systems, mit dem Gruppe20 erstmals arbeitet, erfolgte im Vorfeld der Tour binnen eines Tages. Nach dem Probeaufbau wurden die einzelnen Komponenten beschriftet und konfiguriert und die Lampen im Zactrack-System gepatcht. In den jeweiligen Hallen der Tournee vor Ort erfolgt die Einrichtung des Zactrack-Systems durch das Einmessen der Antennen und Moving Lights mit Hilfe von vier Zactrack-Smart-Pucks über ein Tablet, das via W-LAN mit dem Zactrack Server verbunden ist.

 

„Lightpower hat uns im Vorfeld mit einer Schulung in das Zactrack-Smart-System-eingewiesen“, sagt Gruppe20-Geschäftsführer Klaus Mayer. „Während der Tour haben sich unsere Systemtechniker Fabian Meckel und Philipp Matt ohne jegliche Unterstützung zusätzlich zu ihren weiteren Aufgaben um die Steuerung des Systems gekümmert.“

 

(Fotos: Marcel Brell)

 

www.lightpower.de

www.gruppe-20.de

 

MHB und Elation beleuchten Reitturnier Indoor Friesland

MHB und Elation beleuchten Reitturnier Indoor Friesland
MHB und Elation beleuchten Reitturnier Indoor Friesland

Im Oktober 2022 lieferte MHB aus den Niederlanden die Sportbeleuchtung für Indoor Friesland, eines der bekanntesten Reitturniere in Europa. Das Sportevent, das nach fünfzehnjähriger Pause seine Rückkehr in den internationalen Turnierplan feierte, fand auf der WTC Expo in Leeuwarden (Niederlande) statt.

 

MHB unterstützte die Veranstaltung erstmalig als technischer Dienstleister und lieferte Sport- und Showbeleuchtung sowie LED-Bildschirme und weitere technische Ausstattung. Das Unternehmen hatte seinen Bestand an KL Panels von Elation im September um 100 zusätzliche Einheiten erweitert und setzte die LED-Softlights umgehend bei der Pferdesportveranstaltung ein.

 

Nachdem MHB KL Panels unter anderem bereits für die Beleuchtung des Olympia-Qualifikationsturniers im Curling im Dezember 2001 eingesetzt hatte, entschied sich MHB-Eigentümer Marten Hylkema nun erneut für die Elation-Lösung. Nachdem er sich mit Bert Schmeits, Key Account Manager Benelux von Elation, in Verbindung gesetzt hatte, wurden die 100 Einheiten rechtzeitig für die Veranstaltung geliefert.

 

Die Leuchten wurden unmittelbar nach jedem Wettkampftag als farbige Showbeleuchtung zur Unterstützung von Musik und anderen Unterhaltungsprogrammen eingesetzt. Zwischen den Wettkämpfen wurde die CCT der KL Panels niedriger eingestellt, um wärmeres Licht zu projizieren und eine intimere Atmosphäre zu schaffen.

 

Zudem wurden 100 KL Fresnel 4 WW - warmweiße LED-Fresnel-Scheinwerfer von Elation, in die MHB ebenfalls im September 2022 investiert hatte - im Pferdestrohdorf des Indoor Friesland eingesetzt, um die Stände verschiedener Reitsportgeschäfte, Pferdetransport- und anderer mit dem Reitsport verbundener Unternehmen zu beleuchten.

 

(Fotos: Lucas Kemper)

 

www.lmp.de

 

MHB und Elation beleuchten Reitturnier Indoor FrieslandMHB und Elation beleuchten Reitturnier Indoor Friesland

El Monstero’s Pink Floyd tribute lit with Vari-Lite VL1600 Profile

The St. Louis-based Pink Floyd tribute group El Monstero played seven sold-out nights at the city’s The Pageant Theater in December 2022, backed by a lighting design by Chip Self using Vari-Lite VL1600 Profile luminaires from Signify.

 

Self, who is the founder of Midwest lighting production specialist Logic Systems, has been working with El Monstero for more than eight years, and has seen the band rise to Christmas period stardom in St. Louis. “The December 2022 shows were very production intensive, incorporating audio, video, lighting, lasers and pyrotechnics”, he says. Logic Systems had invested in the VL1600 Profile last year.

 

(Photos: Keith Brake/Jen Gray)

 

www.signify.com

 

Green Hippo media servers drive graphics at Finland’s JouluMielelle charity concert

The Cultural House Martinus in the Finnish city of Vantaa hosted a concert to raise money for sick children in December 2022. Some of Finland’s biggest stars performed in front of eight LED screens, displaying graphics driven by two Hippotizer Montane+ media servers. The event, known in Finnish as Kummit JouluMielelle, was broadcast live on MTV3 and recorded for streaming on-demand.

 

It was organised by The Association of Friends of the University Children’s hospitals charitable organisation, founded in 1993, which is a longstanding client of the event projection, graphics and immersive media experts at Visual45.

 

“Christmas was a key theme that guided our design work, so that’s what we aimed for”, says Varpu Sipilä, Operations Manager at Visual45’s parent company, Creative Technology. “We worked with the setlist and curated the visuals accordingly, noting that the range of songs and performers was quite wide. The cheerful songs clearly required more colourful and joyous screen visuals than the more ballad-like numbers.”

 

On stage, the team set up eight LED screens consisting of 179 Roe Black Pearl 3.9 mm panels. They powered up two Hippotizer Montane+ media servers, using one for live and one for backup, alongside a high-spec laptop running Zookeeper at the FOH position. To control the Montane+ servers, Visual45’s Tero Kärpijoki used a grandMA2 console.

 

The team created and curated screen content in advance, editing them together during pre-programming at the venue. The screen content for the songs was created by Visual45’s graphic designer Jani Saranpää and visual designer Tero Kärpijoki. The visual design for the show was originally made by Visual45’s Mikko Linnavuori in 2021. This content was the driving force for the on-stage LED screens, mixed occasionally with pre-made video footage. The show also included some inserts for TV and they were also shown for the live audience on the in-venue LED screens, via a live input.

 

The Hippotizer media servers were supplied to the event by Creative Technology Finland, within which Visual45 functions as a design unit.

 

(Photos: Green Hippo/Visual45/Kummit JouluMielella/Nauhoitus/Teron Tallenne)

 

www.green-hippo.com

 

Robe RoboSpot systems for “School of Rock - The Musical” in Sydney

Sydney Catholic Schools presented four special performances of “School of Rock - The Musical” in an arena spectacular based on the original Broadway show and staged at the 16,000-capacity Qudos Bank Arena in Sydney, Australia.

 

Lighting designer Mark Hammer created the lighting design and found a Robe RoboSpot solution for his extensive follow spotting needs. Hammer worked under the direction of Great Big Events, who produced the show on behalf of Sydney Catholic Schools.

 

The stage was designed with a 270-degree viewing angle, complete with a full choir at the back for some sections of the show, and a prominent “B” stage in the middle of the arena floor for “rock out” moments, so Hammer needed multiple follow spots. He specified four Robe RoboSpot systems to run twelve BMFL FollowSpot moving lights.

 

The BMFL FollowSpots were paired with four RoboSpot BaseStations each running three fixtures, all supplied by Sydney based lighting vendors Chameleon Touring Systems. This was the first time Hammer had spec’d the remote follow system, although he admits to being impressed with it since one of the early Australian demo sessions presented by distributor Jands back in 2018.

 

Using RoboSpots was not only “significantly easier” for Hammer operationally than calling twelve individual manually operated follow spots, but it was also quicker and more practical for the Chameleon crew to rig the BMFL fixtures and set up the four base stations which were backstage to the rear of one of the arena’s vomitory entrances.

 

The BMFLs were all front spots, positioned on the ends and at the centre of the advanced truss which was above the audience just in front of the downstage edge of the main stage. This allowed Hammer to track the principals from multiple angles wherever they were as they moved around the stage and out in the arena to the B-stage. The Chameleon crew were chiefed by Anthony Carlon.

 

(Photos: Great Big Events/Chameleon Touring Systems/Louise Stickland/Paul Clarke)

 

www.robe.cz

 

Pawel Pajak chooses Ayrton for Dawid Podsiadlo stadium shows

Creative visual director, lighting and multimedia designer Pawel “Spider” Pajak, of Percepto, incorporated a wealth of Ayrton’s latest lighting products into singer-songwriter Dawid Podsiadlo’s three sold-out stadium shows in Poland, which included a record-breaking attendance at the Silesian Stadium in Chorzow. Podsiadlo is one of Poland’s biggest touring artists with whom Pajak has worked for the past ten years.

 

Pajak chose the latest Ayrton IP65 rated fixtures including 68 Perseo Profile, 21 Domino Profile and 46 of the new Cobra laser-sourced fixtures. The remainder of his rig consisted of 24 Ayrton Huracan Profile fixtures which were sited under the protection of the stage roof.

 

Already familiar with Perseo Profile, Pajak chose to embed the fixtures in eight LED screens fixed to eight overhead moving clusters. Another group was dedicated to a large trapeze shape truss that framed the moving clusters and was also used as a moving set element.

 

The Domino Profile fixtures were employed mostly as front lights and key lights on the singers and soloists. The newly released Cobra fixtures were a late addition to the Podsiadlo shows and used on each of the left and right wings flanking the IMAG screens, and upstage as floor lights behind the band risers. The Podsiadlo shows marked the first use of Cobra in Poland and Pajak’s first opportunity to put them into action.

 

The combination of Perseo, Domino and Cobra proved so successful that Pajak specified them as a lighting package which he used continually for the Summer 2022 festival season. The festival package saw an increase in the number of fixtures to over 100 Perseo Profiles which, along with the Cobra, Domino LT and Domino Profile fixtures, withstood the heat, dust, wind, full sun and rain of a busy Polish summer season.

 

The Ayrton fixtures were supplied by Polish rental company Wizja Multimedia, which purchased the Cobra units specifically for the Dawid Podsiadlo show from Ayrton’s exclusive distributor for Poland, Lunatec Sp. z o.o.

 

(Photos: Percepto/H.Karapuda)

 

www.ayrton.eu

 

Coda Audio beschallt Nuejazz-Festival im Nürnberger Z-Bau

Coda Audio beschallt Nuejazz-Festival im Nürnberger Z-Bau

Das Nürnberger Nuejazz-Festival feierte im November 2022 seine bislang erfolgreichste Ausgabe. Zu den Höhepunkten des Festivals gehörten die Shows von Rosie Frater-Taylor, Seed. und Melanie Charles in der Location Z-Bau.

 

Der Z-Bau, welcher wenige Tage nach dem letzten Nuejazz-Konzert im November 2022 mit dem Applaus-Award als „Beste Livemusik-Spielstätte“ ausgezeichnet wurde, ist mit Beschallungssystemen von Coda Audio ausgestattet, unter anderem mit den kompakten Line-Array-Systemen ViRay und TiRay (im Großen Saal), dem 3-Wege-Point-Source-System G712-96 (im Roten Salon) sowie der 2-Wege-Punktschallquelle Hops8 (in der Galerie).

 

Bereits 2015 hatten Andy Zeh und Tobias Förster von der Münchener Firma Into>Noise ein Sound-Upgrade im Z-Bau verantwortet. Im Roten Salon (Kapazität: 150 Gäste) und in der Galerie (Kapazität: 400 Gäste) installierten sie die Coda-Audio-Lautsprecher RX40, G712 und Hops8 sowie U4 und G18-Subs. Im Zuge der zwei Jahre späteren Modernisierung des Großen Saals (Kapazität: 1.000 Gäste) verbauten Zeh und Förster 2 x 9 ViRay, acht SCP-Sensor-Control-Subwoofer, vier Hops8 (als Nearfills) sowie drei TiRay als Center Delay Line. Zehn Cue-Two-Bühnenmonitore und zusätzliche G18-Subs für Drum- und Sidefill komplettieren das Setup.

 

Technischer Leiter im Z-Bau ist Christoph König. Während des Nuejazz-Festivals 2022 war Dominik „Domi“ Back FOH-Mann im Großen Saal.

 

(Fotos: Leon Greiner/Snapshot)

 

www.codaaudio.com

 

Coda Audio beschallt Nuejazz-Festival im Nürnberger Z-BauCoda Audio beschallt Nuejazz-Festival im Nürnberger Z-Bau

HOF entwickelt und installiert Meta Cube Stage für Karpe

Für die Osloer Shows der norwegischen Hip-Hop-Gruppe Karpe wünschten sich die Künstler eine fliegende Bühne als Hauptelement der Show. Die Bühne sollte auf Wunsch des Duos zu einem integralen Bestandteil der Show werden. Karpe hatten bereits im Jahr 2017 eine fliegende Bühne von HOF verwendet.

 

Diesmal ging es jedoch nicht um eine einfache fliegende Bühnenfläche wie in 2017. Stattdessen erhielt die fliegende Bühne eine verfahrbare „Haube“ in den Maßen von 12 x 12 x 3,5 Metern: den Meta Cube. Um diese spezielle Bühne zu entwerfen und zu installieren, wandte sich die norwegische Produktionsfirma Spectre erneut an ihren deutschen Partner HOF. Die komplett geflogene Konstruktion wurde mit Plexiglasplatten versehen, die wiederum mit einer Diffusionsfolie bespannt wurden und den Würfel transparent oder in Milchglasoptik erscheinen ließen.

 

Dies ermöglichte es den Protagonisten, während der Show Veränderungen auf der Bühne vorzunehmen, ohne dass das Publikum dies bemerkte. Im Inneren des Kubus befand sich eine 2,5 x 2,5 m große Hebebühne, die nach oben gefahren werden konnte und es Karpe ermöglichte, nicht nur im Inneren des Meta Cubes, sondern auch auf der oberen Plattform des Cubes über der Band aufzutreten.

 

Der Meta Cube war ein integraler Bestandteil des Licht- und Sounddesigns. Die statische Herausforderung bestand darin, den Cube - und die gesamte Technik im Inneren, bestehend aus Moving Lights, LED-Bars, Spezialeffekten etc. - mit möglichst wenigen Elektrokettenzügen zu heben. Die Konstruktion wog inklusive Technik ca. vierzehn Tonnen, weshalb sechzehn C1-Elektrokettenzüge zu je zwei Tonnen zum Einsatz kamen. Um Gewicht zu sparen, verwendete HOF 10 mm dicke Plexiglasplatten an den Seiten und 20 mm dicke für die horizontale Podiumsfläche.

 

Als Unterkonstruktion nutzte HOF die MLT² Pre Rig Truss, die HOFbolt 200-2 Grid Truss und eine spezielle Version der HOFfork 350-4 mit seitlichen Abgängen zur MLT² Pre Rig Truss und integrierten Hängepunkten. Somit wurden fast ausschließlich Standardkomponenten verwendet, sodass Spectre das Material nach den Karpe-Shows für andere Produktionen wiederverwenden konnte.

 

Für den Aufbau der Unterkonstruktion nutzte HOF die Funktion der MLT²-Dollies. Die komplette 12 x 12 Meter große Plattform wurde parallel zu den Rigging-Arbeiten aufgebaut, allerdings an einer anderen Stelle der Halle. So konnte das „Cube Team“ parallel zu den Riggern arbeiten, die die Hängepunkte und Rigs direkt über der endgültigen Position des Bühnenbereichs und des Cubes setzten. Die komplette Plattform wurde nach Fertigstellung an ihren Bestimmungsort geschoben und geflogen, wo im Anschluss die drei Meter hohen Seitenwände montiert wurden.

 

(Fotos: Michael Ray Vera Cruz Angeles)

 

www.h-of.de

 

“Boyband Tour” kicks off with Robe

“The Boyband Tour” is a two-hour set inspired by some of the greatest international “boyband” hits from the nineties and noughties - Westlife, Backstreet Boys, SpiceBoys and many more. It is delivered by five Danish musical theatre professionals - Silas Holst, Kim Ace Scherlund, Teit Samsø, Jeff Ace Scherlund and Joakim Traneberg - who are also the show’s producers.

 

Lighting, visuals, staging, and technical production is right at the heart of this project, which is the brainchild of Silas Holst. Sune Verdier was asked onboard to co-ordinate these aspects and also to production manage the first leg of “The Boyband Tour” which kicked off in Aarhus in December 2022 and continues around Denmark through February 2023.

 

Verdier specified some of his favourite Robe moving lights for the show with Esprites, LEDBeam 150s, MegaPointes and Pointes plus other lighting and LED fixtures all supplied by Copenhagen based rental company European Touring Productions (ETP) along with the audio and LED screen.

 

Integral to Verdier’s show design is the video content that is crafted into the show which he commissioned from media specialist Faceoff Media House, which also produced coherent graphics, imagery, logos and promotional and marketing packages and content for the whole Boyband tour concept. Video and lighting cues work in harmony with the choreography (directed by Kim Ace) to help produce the performance.

 

Verdier established the position of the 12-metre wide by 2-metre-deep screen, upstage of and above a raised catwalk with stair access at each end and a set of toaster lifts at the back. The screen is a vehicle for narrative information - from pastiche music videos to song lyrics to stylised graphics - as well as for effects, some synched with the music and lyrics.

 

At the start of the interval, a perforated elastic projection screen - also visible as a “ceiling” piece in the first half - flies in and shows a projected countdown clock for the start of the second act. For “Dirty Pop”, the first number, a music video is projected onto the front as the guys periodically burst through the screen onto the forestage in sync with the video images - and back again through the screen.

 

To capture the pop aesthetic, there is a lot of back, side, top and bottom lighting and around the screen. The three side booms a side are all on wheels and movable for re-scaling in different sized venues. Kicking in from the upstage corners are two - left and right - matrixes each comprising twelve Robe LEDBeam 150s.

 

At the top of the side booms and above the screen is a row of eleven MegaPointes, which are are used for massive beam looks, as well as for silhouetting and framing the five artists from behind and above. Below the screen, peeping through across the top of the raised catwalk, are ten Robe Pointes. For front lighting, the keys and specials on the front truss are seven Esprites.

 

In addition to these, there are some other moving head spot lights on the rig plus substantial LED lighting inside the set including eleven strobes. These and serious amounts of haze have all been programmed by Sune Verdier onto a GrandMA3.

 

It is not a huge rig, but everything on it had to work hard to get the variety of looks needed to propel the show over two hours and 1500 cues. Verdier had initially scheduled three weeks of basic pre-viz programming for himself prior to a three-week tech period in the Burning Snail Studio in Odder, just outside Aarhus. However, for multiple reasons, this boiled down to just two days of pre-viz.

 

The “Boyband Tour” take of the classic Backstreet Boys “I Want It That Way” airport video was filmed in the Værløse Aviation History Hangar at Værløse Airport. A series of “backstage” VT-play-ins on screen delineate the different sections of the show as the performers do their quick-changes and morph into the next artists. All of this was developed working closely with the five artists, and Verdier notes that it was a “different but very productive” way to work so collaboratively with the cast.

 

Video content is stored on a Disguise server and triggered via the GrandMA3. As a timecoded performance synched to the backing track, the entire show is run by FOH sound engineer Jonas Jørgensen.

 

(Photos: Louise Stickland/Paul Clarke)

 

www.robe.cz

 

Elation’s Proteus Excalibur welcomes in 2023 on New Year’s Eve London show

London’s largest ever New Year’s Eve celebration took place at the London Eye on the River Thames, featuring a fireworks and drone display accompanied by a light show designed by Tim Routledge. His first time lighting London’s end-of-the-year celebration, Routledge chose Elation Professional’s Proteus Excalibur beam moving head as a key fixture in his design.

 

Routledge took on the project nearly a year ago, first assisting show producers Identity with the tender process and then working with them throughout the year to create a show that included 12,000 fireworks (from Titanium Fireworks), 400 drones (from Celestial) and over 300 lights supplied by Neg Earth Lights.

 

The designer, who had seen the IP-rated Proteus Excalibur at the Prolight + Sound show last May and demoed the unit in September, positioned the units inside each of the London Eye’s 32 pods. “Because the London Eye is a tourist attraction and is used every single day, we mounted the Excaliburs and a strobe unit on wheeled dollies and waited until the tourists cleared out each night, sometime around 7 p.m.”, he explains. “The Eye would continue to turn and we wheeled a dolly into each pod. We loaded all 32 pods this way.”

 

At the end of the night of programming, the procedure was reversed and the dollies unloaded. They repeated the process over three nights. Additional Excaliburs lined the pier in front of the 135-meter tall wheel, working with other long-throw luminaires.

 

More than 100,000 ticket holders plus millions around the globe took in the show and its message of love and unity. Highlights included England’s UEFA Women’s Euro 2022 win, fifty years of London Pride, a message of support to Ukraine, a tribute to the late Queen Elizabeth II, and a segment honoring King Charles III. The Excaliburs were used throughout the 12-minute show, mostly in tight beam looks although Routledge says he did access the unit’s gobo wheels for the King Charles III segment.

 

The lighting was coordinated with the fireworks and drones in both white and multi-colored looks. Routledge says the dedication to Ukraine was especially powerful, “also because there was a pause in the fireworks at that point and the beams read really well.” He adds that the London Pride section was also a highlight as it gave him the chance to access the Excalibur’s full-spectrum color system to create “structured rainbow beams that really cut through.” Working for more than just the 12-minute show, the lights in the pods were used to build anticipation from 11 p.m. and were active for forty minutes after the show while the crowd dispersed.

 

Creative directors were Dan Colbourne and David Zolkwer, lighting programming was done by James Scott, Morgan Evans, and Adam Marshall.

 

(Photos: BBC)

 

www.elationlighting.com

 

Ayrton supports celebration of the life and work of lighting designer Mikki Kunttu

A cluster of events celebrated the 30-year career and 50th birthday of Finnish lighting designer Mikki Kunttu last autumn. Finland’s Tampere Hall hosted “Lucid Dreams”, a photographic exhibition of Kunttu’s work, “Light & Shadow”, an international lighting seminar that included contributions from LeRoy Bennett, Christopher Bauder, Benjamin Dupont, Ralph Jörg Wezorke and Ola Melzig, a performance by the Tampere Philharmonic Orchestra of Gustav Holst’s “The Planets” suite lit by Kunttu, and “A Night of Light” international gala concert lit by one of Finland’s talented young lighting designers, Alex Hautamäki.

 

The germ of the idea came from Tampere Hall’s managing director Paulina Ahokas, who has worked with Kunttu extensively. The result was a collaboration with many artists with whom Kunttu has worked throughout his career, with Kunttu himself lighting the seven-part masterpiece “The Planets” in cooperation with the Tampere Philharmonic Orchestra.

 

Kunttu chose to design, program and operate the lighting and video for “The Planets” to give it an artisanal, back-to-roots feel. Centred around a circular video screen above the orchestra, the design featured over 100 Ayrton fixtures, including 26 Ayrton Cobra laser-sourced fixtures.

 

Kunttu used the moments between the Planets movements - when a series of NASA space recordings were played - to create stronger, dramatic beam effects, toning them down when the orchestra was playing to avoid deflecting the attention away from the music and the performers.

 

Kunttu used Ayrton Cobras mostly as back lights, along with twenty Ayrton Huracán LT (long throw) fixtures. Forty-one Ayrton Eurus S profile units were rigged on three overhead trusses as top and front lights, with additional Eurus S profiles on the side ladders for cross light. More Huracán LT fixtures were added as floor specials behind the orchestra.

 

Kunttu had one day to program “The Planets” and one over-night turnaround for the Gala concert the next day. “Alex (Hautamäki) used even more Cobra than I did for the Gala”, he says.

 

(Photos: Ralph Larmann)

 

www.ayrton.eu

 

Hamburger Rathausmarkt Open Air mit Pro-Ribbon-Systemen von Alcons Audio

Seit 2019 ist die Farao Studios GmbH aus München für die Akustik und Mischung des alljährlichen Klassik-Open-Airs am Rathausmarkt in Hamburg verantwortlich. Im Auftrag von Farao plante Uwe Biesgen von Creativsound aus Berlin in diesem Jahr ein Alcons-Audio-Beschallungssystem. Zudem betreute Biesgen das Konzert vor Ort als Systemtechniker.

 

Die Event-Net GmbH aus Halle/Saale erhielt den Auftrag für die Bereitstellung und Installation der gesamten Beschallungstechnik für das Rathausmarkt Open Air. Im Gegensatz zum Konzert 2019, als Alcons’ größeres Doppel-14’’-System LR28 zum Einsatz kam, entschied man sich - wie auch schon in 2021 - in diesem Jahr für das etwas kompaktere Doppel-12’’-LR24-Pro-Ribbon-Line-Array-System des niederländische Lautsprecherherstellers.

 

Für die Hauptbeschallung lieferte Event-Net insgesamt 32 Alcons LR24 (16 x L/16 x R) sowie vierzehn Alcons LR18 für die Centerbeschallung. Neun LR7 (1 x 6,5’’-Mikro-Line-Array) kamen diesmal als Nearfills zum Einsatz. Sie ersetzten aufgrund der geringeren Bauhöhe der Bühne die bislang genutzten VR8. Ein Bass-Array aus 22 Alcons BC543 (3 x 18’’-Cardioid-Subwoofer) komplettierte die Publikumsbeschallung.

 

Für das Monitoring auf der Bühne plante Uwe Biesgen zwölf LR7 (auf vier Positionen à drei Stück), vier VR8 (8’’) und QRP20/90 (4 x 6.5’’-Point-Source-Column) ein. Weitere sechs LR7 standen als Spare zu Verfügung. Angetrieben wurde das System mittels 31 Alcons-Sentinel-10-Amplified-Loudspeaker-Controllern auf drei Positionen. Die digitale Signalverteilung und Steuerung der Verstärker erfolgte über ein Riedel-RockNet-Netzwerk.

 

Da bei der diesjährigen Auflage des Open-Airs ein deutlich größeres Publikum erwartet wurde, planten Creativsound und Uwe Biesgen erstmalig mit einer Delay-Line (L-C-R), bestehend aus jeweils vier Alcons-QR24/80- und zwei Alcons-QR24/110-(4 x 6,5’’)-Säulenlautsprechern, mit einer Array-Länge von insgesamt fast 4 Metern/13 Fuß, in Verbindung mit jeweils drei direkt abstrahlenden Alcons-Subwoofern BF121. Das Outfill bestand aus vier Alcons QR24/80 und zwei BC543. Da das Outfill auf einer Ebene mit dem Bass-Array positioniert war, kamen hier die gleichen Bässe wie beim Bass-Array zum Einsatz.

 

Wie das Hauptsystem, so wurden auch die Delay- und Outfill-Positionen von Alcons-Sentinel-10-Amplified-Loudspeaker-Controllern gesteuert und angetrieben. Für diese vier Positionen kamen weitere neun Prozessor-Verstärker zum Einsatz. Die Delay-Line wurde dicht hinter dem FOH errichtet.

 

(Fotos: Alcons Audio Germany/PMGROUP Markus Steeger/Philharmonisches Staatsorchester Hamburg)

 

www.alconsaudio.com

www.creativsound.de

www.event-net.org

www.farao-classics.de

 

Ayrton Bora and NandoBeam S6 light “West Side Story” in Cagliari

Ayrton Bora and NandoBeam S6 light “West Side Story” in Cagliari
Ayrton Bora and NandoBeam S6 light “West Side Story” in Cagliari

In December 2022, Arthur Laurents’ two-act stage musical “West Side Story”, with music by Leonard Bernstein, was staged for the first time at the Cagliari Lyric Theatre in Sardinia. The staging was derived from three major U.S. musical institutions: the Lyric Opera of Chicago, the Houston Grand Opera and the Glimmerglass Festival in New York State. The performance, which blends the language of traditional opera with that of the musical, took place from 15th-23rd December, bringing to a close the 2022 opera season with ten English-language performances.

 

Lighting designer A.J. Guban opted for twelve Ayrton Bora TC and twenty-five Ayrton NandoBeam S6 fixtures for the lighting design taken from Mark McCullough’s original. “The NandoBeam S6 fixtures were used to provide more light sources and even more overlapping of the beams of light, while the Bora units were rigged on the front trusses from where it was possible to cover the entire stage (with a proscenium width of almost 15 m)”, says Andrea Ledda, chief electrician of Cagliari Lyric Theatre’s stage lighting department.

 

Cagliari Lyric Theatre’s latest purchase of eight Ayrton Bora brings its total investment in Bora to sixteen, with other units from the Ayrton universe in its inventory including 28 NandoBeam S6 and ten MagicBlade. According to Ledda, the Bora TCs are used mainly for work in-house, while the NandoBeam S6 and MagicBlades are also used for events and tours when the Lyric Theatre Cagliari moves outside its main venue.

 

(Photos: Andrea Ledda/Lisa Guidi)

 

www.ayrton.eu

www.molpass.it

 

Ayrton Bora and NandoBeam S6 light “West Side Story” in CagliariAyrton Bora and NandoBeam S6 light “West Side Story” in Cagliari

TDC’s use of laser projection technology sets continued focus on sustainability at Sydney Festival

TDC’s use of laser projection technology sets continued focus on sustainability at Sydney Festival
TDC’s use of laser projection technology sets continued focus on sustainability at Sydney Festival

Technical Direction Company (TDC) has announced its biggest involvement yet in Sydney Festival, a city-wide celebration of culture, creativity and live performance. TDC is a provider of event and entertainment technology solutions and sponsor of Sydney Festival.

 

Its team of technicians prepared creative design technology and projection mapping expertise showcased at multiple events across Sydney from 5-29 January 2023 including the “Frida Kahlo: The Life of an Icon” exhibition and the mythic new opera epic “Antarctica”. “We are very excited to be a Sydney Festival partner once again in 2023”, says TDC Technical Project Manager Chris Fitzgerald. “It gave us an opportunity to work in collaboration with some leading artists from all over the world using the latest projection mapping techniques and LED technology.”

 

Co-created by the Frida Kahlo Corporation and Spanish digital arts company Layers of Reality, the multi-sensory experience “Frida Kahlo: The Life of an Icon” features nine transformational spaces, from collections of historical photographs and original films, holography, 360-degree projections and a virtual reality system that transports visitors inside Kahlo’s most famous works. Barco G62-W11 laser projectors were rigged by a bespoke TDC system and played back using the latest high-powered media servers.

 

“There are seamless floor and wall projections and unusual projection surfaces which took around a week of installation to set up and install”, explains Chris Fitzgerald. “In creating the project, we worked closely with the Frida Kahlo Corporation and Layers of Reality to deliver a quick turnaround in a matter of weeks. We opted for laser because the technology lifts the colour and resolution of the projections and does so with a reduction in energy consumption.”

 

“Antarctica”, a new opera by Australian composer Mary Finsterer and librettist Tom Wright, performed on home soil for the first time during Sydney Festival 2023 and featuring Dutch new music ensemble Asko/Schönberg. “Antarctica” is performed on a futuristic digital set the backdrop for which is a 12 m x 9 m Roe BQ4 Black Quartz LED wall specified, supplied and installed by TDC.

 

The opera’s musical palette is amplified by the sounds of the Southern Ocean and the Antarctic itself. The LED screen is used as a set piece as well as an animated display whereby performers can enter and exit the stage through walkways created within the screen. “‘Antarctica’ is an immersive experience for which we adapted an installation from the debut performance in the Netherlands”, comments Francis Smith, Technical Project Manager, TDC. “The screen sits in front of the scaffolding with elements of the set emerging onto stage through cut outs.”

 

TDC is supporting numerous additional Festival experiences including “Virgil: Awaken” held looking across the shoreline and at the island Me-Mel (formerly Goat Island), at Barangaroo Reserve and for the projection of Dyin Hura (Women’s Place) on the facade of the oldest surviving public building, Old Government House in Parramatta Park.

 

(Photos: Wendell Teodoro/Sydney Festival)

 

www.tdc.com.au

 

Amsterdam Music Festival lit with Robe

Andre Beekmans and a team from his Eindhoven, Netherlands-based design studio The Art of Light created a lighting scheme for the 2022 Amsterdam Music Festival (AMF), a one-day electronic music extravaganza of epic proportions produced by Alda and staged at the Johan Cruijff Arena as part of the 2022 Amsterdam Music Event (AME).

 

Beekmans chose over 400 Robe moving lights to be a major part of the lighting rig, including 166 x LEDBeam 100s, 192 x Pointes and 76 x MegaPointes. He has lit the event for the ten years since it started, with this year being the first since 2019, and worked closely with event technical production manager Maarten Hoogland from Alda in creating the set and staging elements as well as delivering the lighting design.

 

Taking the multiple crosses of the AMF logo as a visual starting point, eleven large crosses outlined with LED strip lighting and rigged with additional lights were designed and custom fabricated. Five of these were rigged above the stage, a cluster of three together upstage centre were on a motion control system and flew in and out behind the DJs.

 

These three AMF crosses were flanked by two single ones left and right of the stage at the back, with the other six deployed around the other three sides of the football field. Each 7.5 metre high AMF cross was rigged with twelve Robe LEDBeam 100s.

 

Instead of having a big slab of LED screen upstage, Beekmans and Hoogland were keen to have something more abstract and interesting, more of a LED feature than a bit of TV, so this set piece was created with strips of LED that could work separately or together as one big canvas when needed. It could also be lit from behind to add depth, and the content created by Veemee Visuals was designed to work more harmoniously with the lighting.

 

Six Pointes were rigged on thirty-two motion-controlled trusses above the audience across the stadium. The movement brought an additional aesthetic layer to the picture and generated multiple looks throughout the night, sometimes swooping in dramatically low above the audience.

 

“To ramp up the club effect, the design really needed lights coming in from all angles and directions”, notes Beekmans, adding that it was a massive space to fill so they needed lots of bright fixtures, and the moving trusses were designed with Pointes, combined with seventy-six Robe MegaPointes across the stage area. The MegaPointes were mainly rigged behind and in between the LED video banners for blast-through and other looks.

 

Beekmans’ design featured approximately 650 other lightsources including LED strips, floods, and other moving lights, all controlled via four GrandMA3 full size consoles (two live and two backup) operated by a team from the Art of Light. Joining him on the operating shifts were programmer Kasper Iseger; Jaap Kamps who took care of all the LED strips and other “scenic” lighting; and WYG/previz tech Kasper Dijksterhuis.

 

The DJs hit the dex between 8 p.m. and 6 a.m. for ten hours of nonstop dance mayhem including Armin van Buuren, Afrojack, Martin Garrix, Nicky Romero, Timmy Trumpet, Tiësto and more. Many artists brought in their own LDs or lighting operators, including Michael Seeverens, Armin van Buuren’s long time lighting director, an artist also closely connected to The Art of Light. Beekmans himself operated for the first and last two acts of the night/morning. Lighting equipment for ADF 2022 was supplied by Ampco Flashlight.

 

(Photos: Tim van Etten/At10)

 

www.robe.cz

 

DPA microphones complement Roomful of Teeth’s vocals in recorded and live applications

From first listen, it’s obvious that amplified vocal ensemble Roomful of Teeth is unlike any other performance group around today. As the ensemble’s Head Audio Engineer Randall L. Squires is no stranger to the band’s haunting, hypnotic vocals.

 

After starting with the group in 2015 alongside boss and mentor Damon Lange, Squires eventually took over full audio operations, including recording, mastering and FOH engineering. Most recently, the group entrusted Squires with recording its latest album, requesting that he create a new audio canvas from which they could work. To complement the sound, Squires turned to DPA Microphones’ D:facto 4018VL Vocal, 5100 Mobile 5.1 Surround and 4011 Cardioid Condenser Microphones.

 

“Roomful of Teeth is primarily a live act, so they’re used to amplification and having a handheld vocal mic on a stand directly in front of them”, says Squires. “I wanted to find a solution that still fit the look of the handheld mics they were used to, but with a higher fidelity. The D:facto felt familiar to the singers, allowing all the mic techniques for their overtone singing and yodeling to translate directly, while also giving them a more open sound. Hitting those higher notes and hearing the overtones is also easier with a D:facto than it is with a dynamic mic. They hear all the upper mid-range sounds that they can go for, and they hit them easier.”

 

Recorded at the Mass MoCA (Massachusetts Museum of Contemporary Art), the group of eight singers were set up in a full circle, with the 5100 directly in the center, about sixty feet across from each person. One D:facto was then set in front of each singer along with a monitor and several 4011s were set directly behind them another twenty feet out to pick up room sound. There were additional speakers behind the 4011s, which Squires set up to face into the corner, allowing him to feed reverbs to the singers and change the feel of the room space.

 

After using the DPAs for this project, Squires made the decision to purchase ten D:factos, with plans to incorporate the mics into both live applications and recording projects. “The D:factos will be our main touring microphones, and we’re going to use them for literally everything”, says Squires. “Recently, we utilized the D:factos in support of Caroline Shaw’s ‘Microfictions, Vol. 3’ with the New York Philharmonic at David Geffan Hall, as well as to record the score for 2022 film ‘Catherine, Called Birdy’.”

 

(Photos: DPA Microphones)

 

www.dpamicrophones.com

 

MHB illuminates equestrian event Indoor Friesland with Elation KL

In October 2022, MHB of the Netherlands provided sport lighting for Indoor Friesland, one of Europe’s top equestrian competitions. MHB used their recently expanded inventory of Elation Professional’s KL Panel LED softlights. The company had added to their inventory of KL Panels in September 2022 with 100 additional units and immediately deployed them on the equestrian event.

 

Indoor Friesland returned after a 15-year absence as top national and international riders competed in dressage and horse jumping at the WTC Expo in Leeuwarden, the Netherlands. MHB collaborated with the event for the first time as technical AV partner, providing sport and show lighting as well as LED screens and other technical essentials.

 

The biggest challenge was to light the large arena in an even wash of consistent color temperature daylight white, light that would neither distract nor “dazzle” the horses. A smooth field of light also meant that spectators could view the competition without dark areas or strong shadows, and the high illumination levels and uniform field also benefited the broadcast cameras.

 

Because of MHB’s positive experience lighting the Olympic Qualification Tournament in curling with KL Panels last December, MHB owner Marten Hylkema again opted for the Elation unit. After contacting Elation’s Bert Schmeits, Key Account Manager Benelux, to set a plan in motion, the 100 units were delivered in time for the event.

 

Immediately after each day’s competition the fixtures transitioned as multi-color show lights to complement music and other entertainment. In-between competitions, the KL Panels’ CCT would adjust lower to project warmer light and create a more intimate atmosphere.

 

MHB’s September investment also included 100 KL Fresnel 4 warm-white LED Fresnel lights, which were all employed at Indoor Friesland’s equestrian straw village to light the stands of various equestrian shops, horse transport companies and other related businesses.

 

(Photos: Lucas Kemper)

 

www.elationlighting.com

 

Red Rover delivers adaptable Elation rig for Faouzia tour

Red Rover delivers adaptable Elation rig for Faouzia tour

Upon completing a string of European performances in July 2022, Faouzia began preparations for a fall North American tour that saw the Moroccan-Canadian singer playing dates across the U.S. and Canada. Jon Stanners of entertainment production company Red Rover Entertainment of Winnipeg designed lighting for the outing and specified an Elation rig of Fuze SFX moving heads, SixBar 500 linear bars, and SixPar 200 6-color PAR lights.

 

Both Faouzia and Stanners have roots in Winnipeg’s French community and the designer says he has been familiar with the singer since she was a young artist. Stanners lit one of her music videos years ago and has done several one-off shows with her. Faouzia’s fall “Citizens” tour, which ran from October 15 to November 17, was Stanners and Red Rover’s first chance to work with her on a tour.

 

“For her older songs, which are more intimate piano numbers, I often put the focus solely on her”, Stanners describes his design. “But for her newer material, which is more Moroccan-influenced with offbeat rhythms, I’ll use more layered looks.” The show also features a number of pop numbers. Stanners says he also likes to work with Faouzia musical director David Steinmetz “to better understand what his intention is and how I can complement that”.

 

Lighting operator on the tour was James Moore from Red Rover Entertainment. Red Rover supplied the lighting for the “Citizens” tour with Stanners handling lighting design and programming. The tour played anywhere from 400-capacity venues in smaller markets to 2000-capacity venues in larger markets and the design, Stanners says, had to fit into both.

 

“I wanted a rig that could hold its own in venues where there was very little house lighting”, the designer comments. “Most of my tours go out without some kind of side light so if the venue’s front house lighting was inadequate, it was still taken care of. For eye candy on this tour, I used Elation’s Fuze SFX to create the moods using anything from gobo looks to tight beams.” Red Rover took delivery of new Fuze SFX fixtures in the early fall, just in time to send them out on the tour. Stanners placed four units atop pipes with custom-built tops. A further three units worked from a floor position.

 

Another creative design element involved fifteen floor-positioned SixBar 500 color-changing battens in a semi-circle behind the singer for color and eye candy looks. Stanners explains the idea behind the look: “I wanted to create a play area for her to move in where there are no other musicians or cables, an area that was clean visually. No matter what size the venue, that was her space.” Additional to the rig were seven SixPar 200 color-changing PAR lights, two per side as sidelight and one for a ‘halo’ behind each musician.

 

(Photos: David Milejszo/Mike Thomas)

 

www.elationlighting.com

 

Red Rover delivers adaptable Elation rig for Faouzia tourRed Rover delivers adaptable Elation rig for Faouzia tour

DPA’s vocal and instrument microphones assist varying musical performances

DPA’s vocal and instrument microphones assist varying musical performances
DPA’s vocal and instrument microphones assist varying musical performances

DPA Microphones recently supported various musical events across the U.S. - including the Catalina JazzTrax Festival, Belmont University’s Oratorio Chorus and Orchestra, and Danny Elfman at the Hollywood Bowl - and is also providing audio for the Los Angeles Ballet’s performance of the “Nutcracker” at the Dolby Theater.

 

The annual Catalina JazzTrax Festival set on Catalina Island has been made possible for the past 26 years by Production Manager and Audio Engineer Gregg Hudson of Hudson Audio. Hudson has also been aided by FOH Engineer Spenser Bishop of MixOne Sound since 2008, and this season was no different. With 22 bands performing across two weekends, the festival required an audio production made possible by a selection of nearly twenty DPA Microphones, including 4099 Core Extreme SPL Instrument, 2011 Twin Diaphragm Cardioid, 2028 Vocal and 4055 Kick Drum microphones.

 

At Belmont University’s new Fisher Center performance hall, DPA mics helped project a presentation by the Oratorio Chorus and Orchestra of “Requiem for Colour”, a musical, literary and visual journey honoring the lives, legacies and history of Black Americans. Featuring an 80-piece orchestra and 400-person choir, the event was recorded under the direction of Doyuen Ko, Associate Professor of Audio Engineering Technology, who spec’d the stage with forty DPA mics. This included the 4006 Omnidirectional Condenser, 4015A Wide Cardioid, D:facto 4018 VL Vocal, 4097 Core Supercardioid Choir and 4041-SP Large Diaphragm microphones, along with the 4055 Kick Drum, 4099 Core Instrument, 4011A Cardioid, 4061 Miniature and 2011C Twin Diaphragm Cardioid microphones.

 

To set the mood this past Halloween season, Live Sound Engineer Troy Choi was called upon to run monitors for the Danny Elfman shows at the Hollywood Bowl in Los Angeles. Choi used DPA’s new 4055 Kick Drum and 4099 Instrument microphones for the orchestra and drum set, and the brand’s 2028 Vocal Capsule for Elfman himself.

 

Choi is also serving as FOH engineer for the Los Angeles Ballet to mic the company’s 65-piece orchestra for performances of “The Nutcracker” at the Dolby Theatre. For this, he turned to his two DPA 4097 Core Micro Shotgun, 2011 Twin Cardioid and 4011 Cardioid Condenser mics, as well as thirty DPA 4099 Core Instrument mics with stand mounts.

 

Also, the Santa Clara Vanguard (SCV) Drum & Bugle Corps took its team to the annual Drum Corps International World Championship Finals with DPA 4099 Core Instrument mics along for the ride. The team, which competed against eleven other corps, relied on the experience of Audio Technician Jonathan Yoo, a longtime DPA user, to lead them throughout the competition.

 

(Photos: Belmont University/Catalina JazzTrax Festival/Troy Choi/DPA Microphones/Hollywood Bowl/Jasmine Simmons/Sam Simpkins)

 

www.dpamicrophones.com

 

DPA’s vocal and instrument microphones assist varying musical performancesDPA’s vocal and instrument microphones assist varying musical performances

BTL-X setzt LED-Leuchten von Roxx bei Deutschem Nachhaltigkeitspreis ein

Jedes Jahr werden beim Deutschen Nachhaltigkeitspreis wegweisende Beiträge zur Transformation in eine nachhaltige Zukunft prämiert. In diesem Jahr fand die Prämierung von Europas größter Auszeichnung für ökologisches und soziales Engagement in Düsseldorf statt.

 

In insgesamt acht Wettbewerben haben sich 2022 über 1.000 Teilnehmer für einen der Preise beworben. Die Gewinner wurden vor rund 2.000 Gästen ausgezeichnet. Auch Bundeskanzler Olaf Scholz war vor Ort, um die vielfältigen Anstrengungen für mehr Nachhaltigkeit zu würdigen.

 

Für die technische Ausstattung und Umsetzung des Events war BTL-X-Veranstaltungsservice verantwortlich. Natürlich lag auch bei der eingesetzten Technik der Fokus auf Energieeffizienz. „Wir haben mit dieser Veranstaltung gezeigt, was heute schon in der Veranstaltungstechnik machbar ist, um ein Event nachhaltiger zu gestalten“, sagt Michael Terwint, CEO der BTL Next GmbH.

 

Zusammen mit Lichtdesigner Flo Erdmann entstand ein nachhaltiges Ton- und Lichtkonzept. Als Tischbeleuchtung setzte BTL-X zum ersten Mal die neuen B.Flex-LED-Akku-Leuchten von Roxx mit Hat-Aufsatz ein. „Der Hat bietet als Erweiterung zur Flex-Serie die Möglichkeit, immersive Lichteffekte in den Raum zu transportieren. Er macht aus der 40-Watt-LED-RGBL-Dual-Source-Leuchte eine ‘Designleuchte’“, erklärt Erdmann, der an der Entwicklung des Flex Hat beteiligt war.

 

(Fotos: Julian Siewertsen/BTL-X/Roxx Light)

 

www.btl-x.de

www.roxxlight.com

 

The Design Oasis chooses Chauvet IP65 fixtures for Jamrock Reggae Cruise

As Royal Caribbean’s “Freedom of the Seas” steamed out of port December 7, 2022, for the “Welcome To Jamrock Reggae Cruise”, Nesta Garrick, Abbas Ritscher and the entire team at The Design Oasis were grateful that they would be able to do something they’d never done before: leave all their fixtures unbagged overnight.

 

“This was the first time we didn’t have to worry about putting bags over our fixtures at the end of a long day”, says Ritscher, who oversaw the installation of the lighting rig on the ship. “That’s a tremendous time saver.”

 

Ritscher and his team were able to avoid the hassle of wrapping fixtures in plastic bags, because for the first time, since the cruise began in 2012, the entire rig was made up of IP65 rated units, most prominently the Color Strike M, Maverick Storm 2 BeamWash, and Rogue Outcast 1L  Beam from Chauvet Professional.

 

“‘Welcome To Jamrock’ goes from Miami to Jamacia and is out at sea or in port for five days”, says Ritscher. “Even when the weather is good, you get a lot of moisture in this ocean environment. Having the IP65 rated fixtures is really important.”

 

The lighting rig for the cruise was designed by Garrick, who also ran the lights for Damian and Stephen Marley, as well as many of the other headliner acts. Kenny Gribbon served as the LD for the other artists.

 

Garrick and his team used the IP65 rated rig to cook up a variety of dynamic looks on the open-deck stage, with plenty of aerial beams aimed at the ocean sky, back and audience lighting, and some pixel effects. Throughout the five-days of music, the stage was sometimes colored in intense monochromatic palettes, and at others in vivid Rastafarian red, green and gold.

 

Helping Garrick create his looks were 32 Color Strike M fixtures, which were flown on upstage truss and positioned around the audience area for side lighting. Drawing on the output of the motorized strobe’s tube elements, he was able to cover the entire deck with bright white light at times. During other moments, he relied on pixel effects from the fixture’s face to create colorful visuals.

 

The eighteen Rogue Outcast 1L Beam units were positioned at low and high levels on the downstage truss as well as on the downstage deck. Garrick used them to create aerial effects from a variety of positions.

 

The rig’s twelve Maverick Storm 2 BeamWash fixtures were positioned upstage and used as a traditional wash when they weren’t crisscrossing the stage with beams and backlighting performers.

 

(Photos: Chauvet Professional/The Design Oasis)

 

www.chauvetprofessional.com

 

Zeusaudio beschallt Christmas Garden Koblenz mit Audac-Outdoor-Lautsprechern

Im Jahr 2016 feierte der erste Christmas Garden in Berlin seine Premiere und wurde mit seiner winterlichen Mischung aus Architektur, Lichtkunst, eigens komponierter Musik und effektvollen Klangwelten zu einem unerwarteten Erfolg.

 

2021 fand das Event bereits an achtzehn Standorten in Deutschland, Frankreich, Großbritannien und Spanien statt und lockte 1,9 Millionen Menschen an. Der Lohn: der LEA-Award für die „En Suite-Veranstaltung des Jahres 2020/2021“. In Koblenz führt der Christmas Garden auf einem circa zwei Kilometer langen Rundweg durch die Festung Ehrenbreitstein. Begleitet werden die Besucher dabei von 100 Audac-WX502-MK2-2-Wege-Lautsprechern in der Outdoor-Version.

 

Die Zeusaudio GmbH, verantwortlich für die Beschallung im Christmas Garden Koblenz, kennt das weitläufige Gelände der Festung Ehrenbreitstein aus zahlreichen vorherigen Licht- und Audioprojekten. Im Vergleich zum Vorjahr wurde der Rundweg des Christmas Garden 2022 leicht geändert und führt entlang der Lichtinstallationen durch große und kleine Gassen, überdachte Gänge sowie über mehrere Freiflächen bis in den großen oberen Schlosshof.

 

Zeusaudio installierte die WX502 MK2 größtenteils auf wetterbeständigen MBK556-Aluminium-Montagestangen, die Audac eigens für die WX-Serie entwickelt hat. Auf dieser lassen sich je zwei Lautsprecher auf gegenüberliegenden Seiten montieren, um eine Schallabdeckung in alle Richtungen zu gewährleisten. Neben der Bodenplatte verfügen die MBK556 zudem über eine wetterfeste Anschlussdose sowie eine Öffnung für die interne Verkabelung der festinstallierten Lautsprecher. Im großen Schlosshof nutzte Zeusaudio auch die Bäume als natürliche Montagehelfer, um einzelne WX502 MK2 über den Köpfen der Besucher zu platzieren.

 

Im Christmas Garden Koblenz kommen die WX502 MK2 sowohl für die Hintergrundbeschallung mit weihnachtlicher Musik und Soundeffekten als auch für Durchsagen zum Einsatz. Die Ansteuerung erfolgt über drei 4-x-600-W-100-V-Digital-Endstufen mit WaveDynamics-DSP. Als Zuspieler für die Musikinhalte fungiert eine Kombination aus Laptop und Mischpult.

 

Für die gastronomischen Buden auf dem Gelände nutzt Zeusaudio zudem drei Audac-ATU-44-MK2-Universal-Eingangsadapter zur Konvertierung der 100-V-Lautsprechersignale in Line-Signale, die im Anschluss über Funkstrecken an die jeweiligen Orte geschickt werden.

 

(Fotos: Christmas Garden Koblenz/SEA/Zeusaudio)

 

www.zeusaudio.de

www.sea-distribution.com

 

SR Showtechnik baut Weihnachtsbaum aus Litecraft-Truss

SR Showtechnik baut Weihnachtsbaum aus Litecraft-Truss
SR Showtechnik baut Weihnachtsbaum aus Litecraft-Truss

Zur Adventszeit gehört für viele Unternehmen der Weihnachtsbaum vor dem Firmengebäude. SR Showtechnik aus Neuenkirchen wählte dabei ein ganz besonderes Modell: einen Weihnachtsbaum aus Traverse.

 

„Es hat Tradition bei uns, zu den großen Festen entsprechend zu dekorieren“, sagt Witthake. „Meist wählten wir etwas Aufblasbares, wie zum Beispiel einen riesengroßen Weihnachtsmann. Den konnten wir aber natürlich nicht bei Wind und Wetter stehen lassen. Daher wünschten wir uns nun etwas Stabiles in Form eines Weihnachtsbaumes.“

 

Die Idee entstand schon im letzten Jahr, musste aber aufgrund von Lieferengpässen in 2022 verschoben werden. Im Frühjahr 2022 wurde der Baum geplant und das Material bestellt. Er besteht komplett aus Litecraft Truss LT34, konkret aus zwanzig LT34-45°-Ecken, einem Boxcorner und einer eigens für den Baum geplanten und konstruierten Baumspitze. Der Baum misst 7,1 Meter in der Höhe.

 

Geschmückt worden ist der Truss-Weihnachtsbaum mit einem großen Stern an der Spitze sowie einer Beleuchtung, die den Baum im Dunkeln zur Geltung bringt. „Im Traversenbereich arbeiten wir ausschließlich mit LMP zusammen“, sagt Witthake. „Gerade, wenn wir etwas sehr dringend benötigen - was häufiger vorkommt -, fahren wir kurz zu LMP rüber. Auch bei diesem Projekt hat uns LMP, insbesondere Leander Börger, tatkräftig unterstützt.“

 

(Fotos: SR Showtechnik)

 

www.lmp.de