Business

Details

14 March 2016

The Academy draws upon the insight gained through its links to the production rehearsal studio and set construction operation LS-Live, to promote the teaching of current working practices, methods and technologies in the entertainment industry.

The month-long Live Sound module on the Academy's Foundation Degree in Live Events Production (validated by The University of Bolton) was delivered by audio engineer, author and writer Dave Swallow, who held training sessions on The Science of Sound, Digital Sound, EQ, Dynamics, FX Live Sound mixing, and by Nigel Pease of Selva Sound who delivered Pro Tools 101 training.

The module featured training sessions by Fu

Details

14 March 2016

The brief from Griffiths, who has driven the project from its inception, was quite clear. He felt that rugby fans deserved better audio than that delivered by the often aging systems seen in many rugby grounds. His view was that expectations are higher now than they used to be thanks to the influx of technology into peoples' homes and better, more sophisticated systems in most music venues. He wanted to be able to offer

Details

14 March 2016

As always, noted production designer and artistic director Demfis Fyssicopulos took an innovative and forward thinking approach to his design philosophy for the tour, which entailed utilising the grandMA2 full-size. "It's the most advanced control surface in the market," he says. "In addition to the lighting for the show, a plethora of media servers and custom Control Freak System solutions are all controlled from the grandMA2 full-size. Centralised control ensures coherence and a show that looks well put together."

On the video side of the tour the grandMA2 full-size cont

Details

14 March 2016

"The Open Day went really well," said Black Light's Head of Company Development, Phil Haldane. "We got more people through the door than ever before, had an excellent range of exhibitors, met lots of old friends and said hello to many new faces."

The Open Day was an opportunity for lighting, sound and stage professionals from across Scotland to meet with product manufacturers. Among the innovative new products on demonstration were the ilumo range of LED Spots (which are designed and manufactured in the UK by Lumonic Ltd). Among the companies that exhibited were Av

Details

14 March 2016

ALD chairman Peter Mumford said, "We had a clear mandate from the members at the last AGM to get on with developing the ALD through expanding and advising the professional membership, and promoting the art of lighting design more widely. The Executive came up with several key initiatives, which included marketing ourselves better, more help for recently graduated designers- we call them 'emerging LDs' - and increased levels of support for professionals working in lighting. It was obvious that we needed someone working full-time on this project, in an office that would be available to a la

Details

14 March 2016

Conceived and produced by Moment Factory of Montreal, with content by Hubert Gagnon of Blackout Design, the fun. set was designed and built by Quebec-based Teksho. Featuring illuminated spheres rising from the stage floor like gigantic champagne bubbles in slow motion, the number climaxed with an actual on-stage rainstorm. LEDs inside each of the orbs were controlled by a grandMA2 at FOH, driving an NPU backstage, sending DMX to the LumenRadio Flex Transmitter. The Flex Transmitter sent wireless DMX to each of the frosted-white spheres, with continual control feedback of the entire wireless system.

"Our team imagined a story line for the

Details

14 March 2016

Not only does this reduce the size of the rig needed, it also introduces many less obvious advantages. It opens up the opportunity to use a huge array of plug-ins, offers large channel counts without taking up any more space in the auditorium and offers higher resolution DSP than is generally available with a conventional live mixing console.

The concert in mid-February that gave the opportunity to put theory into practice featured the renowned Frenc

Details

14 March 2016

Measuring 33m in height (including the pedestal) and 22m wide (from fingertip to fingertip), the task of lighting this majestic tourist attraction at first seemed less than straightforward. However, when Mario Luiz Pretto of Cristo Luz (Christ Light) contacted SGM's Brazilian distributor, João Alonso of LBO Lighting Comercio e Importação e Exportação Ltda, requesting a more powerful lighting output than the former installation could provide, João Alonso proposed the SGM P-5 wash light featuring 44 high power 10W RGBW LEDs per u

Details

14 March 2016

André Rauhut's company first introduced Martin Audio's multi-cellular loudspeaker array system to the artist's production back in 2011, when the two operations started working together. "We first used an MLA/MLX rig for a big outdoor show," remembers Rauhut. "They really loved how the system sounded, and as a result, they have since continued to work with us. MLA has become vital to the quality of the live sound."

For the current Guten Tag tour, which takes in most European countries, Complete Audio are providing a total of 26 MLA enclosures, two MLD down-fills, 16 MLA Compacts and 18 MLX subs (scalable to suit the venue).

Details

14 March 2016

Service and distribution company Deligio Iluminación first became involved back in 2006 and this year again rigged the large Atahualpa Yupanqui stage in Cosquin's main Prospero Molina Square - named in honour of the legendary guitarist. Deligio fielded PR Lighting's high brightness/low wattage XR200 Beams, imported by PR Lighting's Argentinian distributor, Martellota, and supplied by Carlos Capra's Audio - Line, alongside XS 1200 Spots, a versatile, bright moving head with rapid beam movement.

"We like the XR200 Beam for its overall performance,

Details

14 March 2016

Using a SkyDeck over an orchestra pit is an exciting application that is continuing in popularity. It can be paired with a pit filler or other removable wood decking finished to match the stage floor. When the orchestra pit is in use, the wood decking is remove expose the acoustically transparent SkyDeck below. The SkyDeck panels act as a pit safety net while the framing members are strong enough to carry a 125 psf load.

IAStage designed the Manatee Player's SkyDeck pit cover in conjunction with project architect, John Toppe. Like all SkyDecks, this one is a modular system. Panels can be removed if ever required. This special applic

Details

14 March 2016

After an extensive testing campaign, Ayrton selected LumenRadio because of its superior quality and reliability. The LumenRadio Coexistence technology allows smarter use of the frequencies by continuously scanning the radio spectrum and dynamically adapting its frequency-hopping pattern to the surrounding environment. This eliminates interference and maximizes performance whatever protocol is in use, whether DMX or RDM.

Ayrton and LumenRadio started working together during the European Motor Show in Brussels where they were faced with the challenge of controlling hundreds of custom LED fixtures using wireless RDM. The result was perfect and Ayrton decided to collaborate with LumenRadio for their entire product line.

The f

Details

14 March 2016

For the past two years Flare has provided the sound for Shakedown's Supercharged Dance Stage, which has played host to artists including Zane Lowe, Chase and Status, Knife Party, The Freemasons and Kissy Sell Out.

Receiving positive feedback from artists and audience members alike, Flare's range of speaker systems "impressed festival organisers so much they have asked Flare to provide the sound for the entire festival this year, as well as for their new Love Supreme Jazz Festival," says the company.

The festivals' promoter Nick Beveridge commented: "Flare Audio will be providing both festivals with the best speakers I've ever heard in a field. With the introduction of Flare's new Space technology to complem

Details

14 March 2016

The invitation follows a period of intense political lobbying by PLASA, on behalf of its members, many of whom were dissatisfied with the restriction surrounding the promotion of their involvement in the events. The questions asked will be used by MPs to assess the true extent of the role that the Olympic and Paralympic Games had in showcasing the UK creative industries, and what impact they have had on the sector subsequently.

"Many of our members were disappointed to discover the pervasiveness of the orders set up to protect the sponsorship deals of companies from outside the creative industr

Details

14 March 2016

Managed for Charcoalblue by senior partner Jon Stevens, the project was designed in under six months and built in eight. "This forward-thinking experimental building will serve as a temporary and flexible space during the closure of the Cottesloe Theatre, which is undergoing major refurbishment before reopening as the Dorfman Theatre in Spring 2014 as part of the National Theatre Future project."

Steve Tompkins, Haworth Tompkins Architects comments, "The Shed was conceived in a process of concentrated dialogue between trusted collaborators. We always enjoy Charcoalblue'

Details

14 March 2016

Fortunately for both the show's male vocal group Human Nature and Cohen they did; but since the group wanted to come up with a whole new look for their show, the designer had to choose his fixtures carefully to compensate for the limitations of the room and budget, as well as the existing lighting infrastructure. So

Details

14 March 2016

The tour incorporated a string of sold out academy and student union venues culminating at Brixton Academy as The Big London Show and was the band's first proper production tour on this scale.

Siyan's project Manager Jez Johnstone says, "This is the first time we've worked with Dan on a full tour and it's been a pleasure. He knows exactly what he wants to see and is proactive and flexible when it comes to making things work during the prep stages. In terms of the show - the design is solid, his programming is tight and his timing is spot on! I'm looking forward to the next one!"

Hill has designed The Courteeners lighting for three years, and he worked

Details

14 March 2016

The essence of the new ArrayCalc V7 is its ability to perform acoustic simulations with mixed point source and line array system configurations; notably the White range installation products from the xS-

Details

14 March 2016

Downsizing - Irish alternative rockers My Bloody Valentine and US singer-songwriter Rodriguez are to headline this year's scaled-down Hop Farm Festival in Kent. Promoter Vince Power said the festival, the sixth to be held since 2008, would be over two days, on

Details

14 March 2016

The new production, playing at the London Palladium, is a faithful re-creation of the original Michael Bennett show, staged by members of the original creative team including director/choreographers Bob Avian (co-choreographer of the original production) and Baayork Lee (a member of the original cast, who has re-staged many productions of the show since), set designer Robin Wagner and the late costume designer Theoni V Aldredge.

The show also retains the legendary lighting design by pioneering lighting designer Tharon Musser, who passed away in 2009. For the 2006 Broadway revival and subsequent productions of A Chorus Line, her work was re-created and updated to current lighting technology by award-win

Details

14 March 2016

The live simulation, originally conceived for a show by a prominent fashion label, was designed to be held within a circular theatre in Milan. The walls of the theatre, usually mirrored, were covered in a 50 by 6m screen, forming a 270-degree surface surrounding the audience and catwalk, onto which was projected a vast 3D video from five 20K Christie projectors driven by a CatalystPM media server and Compulite Vector Green console. The entire production was realised in wysiwyg, using the software's video manager to split the image into five portions, divided equally among the Christie projectors.

Luca Baraldo, president of Teslacoop explains, "If you normally use an image that is 1024 by 768 pixels, you can't project this onto a 50m by 6m screen, so my graphic desi

Details

14 March 2016

Showforce has been granted a licence under the Supplier Recognition Scheme (SRS), which was launched following a deal between the Government, British Olympic Association and the International Olympic Committee. The first of its kind in Olympic history, the SRS formally recognises eligible suppliers for their roles in the successes of London 2012 and Showforce has been given the designation "supplier of event and technical crew (Ceremonies) to the London 2012 Games".

Throughout the course of the ceremonies, Showforce provided in excess of 530 crew members for various elements of production including build-up, breakdown and rehearsals as well as during the actual ceremonies. Members of the team set the 'G

Details

14 March 2016

"In order to load it you were reaching above waist level and we had no facility to attach it to trucks so it was very difficult to load from them," remarked Liz Mundell, technical operations manager. "There was always a gap between the lift and the back of the truck. Also if the winds got above 15 kilometres an hour we theoretically weren't supposed to use the lift - and in Ballarat that's a gentle breeze."

Other issues included the size of lift and the amount it could carry so council made funds available for a new lift and the project was put out to tender. Pr

Details

14 March 2016

This is the second concert tour by the Irish alternative rock band, launched in support of their third studio album, # 3. Lighting designer Jamie Thompson has taken the album name and developed that symbolism within his design concept to create an innovative and striking experience.

The first thing that strikes you about Thompson's design are the three 'fingers' of truss, each clad with a strip of Nocturne V18 LED, 1m wide by 16m long, running from upstage to over the audience. Three complementary runs of V28 are set into the stage and look as though they are a continuous part of the Nocturne V18 main screen, and in turn the main screen appears to continue through the stage.

All the Nocturne LED has been mapped to