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JANUARY 2016 ISSUE 197
LIVE EVENT DESIGN & TECHNOLOGY • JANUARY 2016 • ISSUE 197
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“The LEO Family is the right choice for providing the best quality sound to our clients and their audiences.
The Meyer Sound brand is the perfect match for Wigwam Acoustics, in terms of its reputation for quality.”
Chris Hill, Co-founder and Spencer Beard, Managing Director, Wigwam Acoustics
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Meyer Sound Laboratories Inc. • 2832 San Pablo Ave. • Berkeley, CA 94702 • 510 486.1166
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PRODUCTION NOTES
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our industry-leading sound reinforcement systems, proving once again that choosing JBL is always the wise long-term investment.
Thank You
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PRELUDE
05
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07
THE UK FESTIVAL AWARDS 2015:
The conference
The 12th annual UK Festival Awards & Conference took place on final panel of the day. The report focussed on how festivals can
26 November 2015 at The Roundhouse in London, celebrating and minimise their carbon impact. It was subsequently presented to the
discussing the myriad achievements of the UK festival industry UN Convention on Climate Change, which took place in Paris from 30
over the past year. November until 11 December, and saw 196 countries meet to sign a
The conference, which ran throughout the day, brought together new climate change agreement.
industry insiders for some incisive debate across issues pertinent to By presenting a concise overview and proposed roadmap for
festivals, reviewing the preceding 12 months and portending the reduced carbon impact at festivals in line with international targets, the
potential challenges ahead. report’s authors hope that the UK festival industry sector can lead by
The first panel of the day, entitled ‘Cashless Rules Everything Around example in achieving impact reduction targets by 2025.
Us’, comprised a debate on the relatively recent phenomenon of Based on the most extensive research to date analysing the carbon
cashless technology. The session evaluated the first-hand experiences footprint caused by festivals in the UK, the report detailed the current
that several festival organisers and suppliers had with cashless systems impact of the UK festival sector. It covered the significant impact areas
throughout 2015, weighing up the benefits and pitfalls of each. and discussed where there is potential for reduction.
The ‘CDM Regulations 2015 – A Review’ session was pretty self- There is a call for festivals to pledge their commitment to achieve a
explanatory, including speakers Andy Lenthall (PSA), Steven Corfield 50% reduction in green house gas emissions by 2025, in line with UK
(Serious Stages), Pete Holdich (Star Events), Gavin Bull (HSE), and Q targets.
Willis (PRG). The panel discussed how the new regulations have been Chris Johnson, founder of Powerful Thinking, commented: “This
implemented within the live event sector with debatable success. The is a critical moment for the future of the world. Festivals can play a
implementation of CDM across the board has seen varying complaints, valuable role, collectively reducing their own environmental impacts,
and this issue is still being navigated on a job-by-job basis. while showing the 3.17 million ticket buyers that they can also make a
The ‘State of Welfare’ panel invited an eclectic cast of security difference.
specialists, harm reduction innovators, drinks brands, and academics “The response has been amazingly positive, and we hope that will
to discuss the health risks involved in festival attendance – from the be reflected in the list of festivals signed up to the pledge that we will
frequently addressed and constantly developing issues of crowd safety be publishing on the first day of spring, 20 March 2016.”
and drug and alcohol usage, to the oft-overlooked problem of hearing During the evening’s UK Festival Awards, the award for the Best
damage. With these areas in mind, the panel discussed whether Use of New Technology went to Quantum Special Effects for their
festivals should be doing more to reduce the potential harm their pioneering biofuel flame system utilised on Arcadia Spectacular at
audience members may incur onsite. Glastonbury Festival.
UK festival industry group Powerful Thinking launched an Shaun Barnett, CEO of Quantum Special Effects, commented: “We
environmental impact report, ‘The Show Must Go On’, during the are delighted to have our work recognised within the festival industry.
08
Opposite: The conference once again attracted talking heads from all over the UK festival industry. Below: Chris Johnson of Powerful Thinking speaks on sustainability initiatives
during the ‘Making Green Fields Greener’ session; Powerful Thinking launched its environmental impact report ‘The Show Must Go On’ to conclude the conference; Michelle
O’Loughlin of Chill Welfare explained the company’s approach to harm reduction at festivals; Paul Legge of Showsec and Alex Brooke of Peppermint Bars share a nice moment
during ‘The State of Welfare’ panel.
“It’s been a lot of hard work but so rewarding to see our biofuel flame founding and developing the world music festival WOMAD. Since its
system being spectacularly showcased on the Arcadia spider around the inaugural year, WOMAD has presented over 170 festivals in more than
world. It’s not all about getting as many awards on the mantlepiece as 30 countries, and remains the most successful and highly regarded
we can, it’s about gaining the recognition and respect from our peers in world music festival on the planet. Perhaps the most cosmopolitan
the industry who can appreciate the time, thought and work that is put festival in existence, WOMAD’s truly singular endeavor to represent as
into this new, sustainable technology.” many cultures as possible has led it into its 33rd consecutive year as both
Other notable winners were Bestival, Y Not, and Festival Number 6 a bona fide British institution and international phenomenon.
for Best Major, Medium-Sized, and Small Festivals, respectively; Kendal Presenting the award was British comedian and actor, Eddie Izzard,
Calling for Best Toilets; Virgin Trains for Best Brand Activation; Liverpool who had flown in specifically for the event on a short break from his
Sound City for Best Metropolitan Festival; Liverpool International Music North American comedy tour. The two notable stars sat together during
Festival for Best Festival for Emerging Talent; Eroica Britannia for Best the awards dinner and bestowed great chemistry and mutual admiration
Non-Music Festival; and Creamfields for Best Dance Event. on stage.
Perhaps the most coveted achievement of the night; The Outstanding TPi
Contribution to Festivals Award, was presented to Peter Gabriel for www.festivalawards.com
704
Scan to watch
INGENIOUS SOLUTION No. CHRISTMAS LIGHT SWITCH-ON EVENTS the video
AN
INGENIOUS
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When it comes to live special effects, tackling tough challenges is what we do best
Welcome to MTFX. The ingenious effects people. 01452 729903 info@mtfx.com www.mtfx.com
09
uk festival awards 2015: THE WINNERS
The Brand Activation Award Agency of the Year Promoter of the Year
In association with: IQ Magazine In association with: Bulmers
WINNER: VIRGIN TRAINS WINNER: CAA WINNER: LOST VENTURES
Anthem of the Summer Headline Performance of the Year Line-Up of the Year
In association with: TPi Magazine In association with: Festival Insights In association with: Charge Candy
WINNER: MARK RONSON - UPTOWN FUNK WINNER: FLEETWOOD MAC AT ISLE OF WIGHT FESTIVAL WINNER: LATITUDE
10
“Some are born great, some
achieve greatness, and some have
greatness thrust upon them.”
William Shakespeare
DiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL.
Tel: +44 (0) 1372 845600
www.digico.biz
Best New Festival Best Festival for Emerging Talent The Grass Roots Festival Award
In association with: ID&C
WINNER: WILD LIFE FESTIVAL WINNER: LIVERPOOL INTERNATIONAL MUSIC FESTIVAL WINNER: BEAUTIFUL DAYS
Best Medium-Sized Festival Best Major Festival The Outstanding Contribution to Festivals Award
In association with: Eventbrite In association with: Heineken In association with: Playpass & PayPal
WINNER: Y NOT FESTIVAL WINNER: BESTIVAL WINNER: PETER GABRIEL
12
EVENT FOCUS: Peter Pan
Sound Designer Guido Olischlager worked He perceived that AiRAY would offer both 12-inch, three-way line array systems, designed
with Belgian audio rental company Studio sonic and logistical advantages to the tour. for a wide variety of applications where high
Haifax on the critically acclaimed, large-scale Studio Haifax in consultation with Olischlager, output, even coverage and outstanding
production of the First World War musical decided to invest in AiRAY and ordered 54 units intelligibility is required.
14-18 and this next stage of the Peter Pan with which to embark on the Peter Pan tour. In The unique package brings together the
tour would reunite them in tackling a new mid-August, Pieter Begard, Managing Director high output of a large system with the flexibility
challenge. While Studio Haifax already of Studio Haifax and his team installed the new of a compact system creating a new category
carried an extensive inventory of Coda ViRAY AiRAY configuration into the Hasselt Ethias in large reinforcement systems. No other
compact line-array speakers, Olischlager had Arena for rehearsals. Begard immediately shared manufacturer has achieved the sonic results
attended the official launch of Coda’s brand Olischlager’s impressions of the new system and offered by AiRAY from a lightweight package
new AiRAY series in July 2015 and was left in declared that AiRAY marked a new concept in (40kg) that has the same footprint as a two
no doubt that the new range was a perfect line array. eight-inch systems. The fact that AiRAY is
fit for the forthcoming tour. The AiRAY is fully-integrated, as a compact able to deliver this level of performance from
14
EVENT FOCUS: Peter Pan
Opposite: The story of the boy who never grew up has now been made into a musical that has been touring the globe. Below: The Peter Pan tour is now entertaining audiences across Asia; Sound
Designer Guido Olischlager decided to use Coda’s new AiRAY series for the tour as he thought it would offer both a sonic and logistical advantages for the show.
significantly smaller-than-standard cabinets has hangs for an ‘in the round’ arena production obvious that AiRAY performed way better than
clear implications for the market. and it unloads and flies in no time. AiRAY’s the others. During rehearsals we were playing
When the logistical elements of the equation light weight is beneficial when calculating tracks through the system without any channel
are factored in, it quickly becomes obvious that rigging weight combined with other production or system EQ and the sound was perfect!”
savings in costs and time are significant. A tour’s elements in the same roof space and its low Having confirmed AiRAY’s sonic credentials
budget is very much at the mercy of expenditure power consumption to high performance ratio is in advance of the tour, all that remained for
on transportation and crew and since the AiRAY also a bonus. Guido was to load up and ship out into the
speakers are something like half the size and “Its compact, lightweight design made a real live environment of Peter Pan, where every
weight of comparable systems, the financial significant contribution in saving space for aspect of the system’s capabilities would be fully
implications are clear. Many venues on this freighting and trucking. The system is certainly tested. Guido’s report from the front confirmed
particular tour (as is often the case) offered only powerful, appearing to effortlessly produce that every expectation, creative and practical,
a short window of opportunity for load-in and surprising volume that has a classy warmth and had been met: “The easy and fast fly rigging
set-up, so the lightweight, easy-handling AiRAY clarity. We’re very happy with AiRAY.” system means that putting up the arrays is a
system reduced pressure by saving a great deal Sound Designer Guido Olischlager breeze. The prediction software is very precise
of build time. was similarly impressed: “I was already an so there not much in the way of correction
The speaker was developed with the enthusiastic Coda user, especially the ViRAY when the system is flown - only the occasional
economic considerations faced by touring system. I’d heard about AiRAY in early 2015 minor system correction was necessary to adjust
productions very much to the fore and the and went to its introduction at Frankfurt. At to a particular venue. Both production and
Peter Pan production neatly illustrated the that point, given its specifications, I began to promoter were very pleased with the sound.
unique advantages offered by AiRAY. The consider whether it might prove to be a good Apart from the superior sound that the system
requirement for the highest possible sound fit for the Peter Pan arena tour. Its subsequent produces, it’s the power to size ratio that really
quality is a given for a production of this nature performance at the product launch confirmed makes this a great touring product. Ultimately
and taking both sound quality and logistical everything I’d thought. The system has you have the size and weight of a mid-sized
aspects into consideration, Music Hall’s David enormous power and great projection and even system, which takes up far less trucking space
Wright, Production Manager for Peter Pan and at 100 metres, the sound is still ‘in your face’. but the performance of a large scale system
with 40 years of touring experience, offered this In rehearsals at the empty Ethias Arena I was that can handle any venue. When the ease of
appraisal of AiRAY: “On my recent tours we’ve surprised by the power at low output levels, rigging is factored in, for me, Coda’s AiRAY is a
been equipped with most of the popular brand resulting in a show level without the massive winner!”
line-array systems and it’s worth saying from slap-back you normally get in an empty arena. TPi
the off that the AiRAY system travels, loads I’ve worked in that arena on many occasions, www.peterpan.is/en/
and unloads easily and efficiently. We carry six with many major brands and it was quickly www.codaaudio.com
15
EVENT FOCUS: Tupac Martir
Graduating in 2000 from Omaha, Nebraska’s audience, who become both viewers and he said, adding that the console will be
Creighton University with a bachelor’s degree participants.” travelling with the piece to its next presentation
of fine arts, Tupac Martir - of Satore Studio - Although the kinetic sculpture appears fairly in March 2016 at the USITT Conference and
returned to his alma mater recently to present simple from the front, Martir noted that the Expo in Salt Lake City, Utah, where an iPad
a special art installation called Unique, a self- technological implementation behind the piece will be added for even more control over the
described giant “graphic novel” brought to life is deceptively complex. “When I was looking experience. Following USITT, Unique will then
with light and shadow. at how to control the installation, one of the head to London, Martir’s base, later in the year.
Light is central to the art of multimedia artist main concerns was about the audio, and how He uses a lot of macros and as well as some
Martir. After illuminating concerts for Elton we could trigger the timecode from a separate cue lists to create the process with which
John, Sting and Beyoncé, major festivals like machine,” he said. “After some research, we the motors come to life. Avolites engineers
Coachella, and London Fashion Week shows for found out that the Avolites Tiger Touch II has a wrote a specific fixture profile for the system’s
designers Stella McCartney, Vivienne Westwood Winamp plug-in that would allow us to control encoders and drivers made by RC4 Wireless,
and the late Alexander McQueen, Martir has music directly from the console, eliminating the which provides wireless lighting and motion
gained an enviable reputation. need for another computer. When you leave technology for theatre, film, and television.
“Using new and old etching techniques, the an installation for a long period, there is always Although he received Unique’s Tiger Touch
story is told through 12 chapters, with eight that worry of what can go wrong and the II only five days prior to the show going live,
drawings per chapter,” he explained of his latest process to fix that problem. Martir said it was “enough time to make sure
project. “The 96 drawings are then processed “By taking an entire computer out of the the fixtures were reacting properly to what we
and individually placed within four three ft by equation, it helped those looking after the were trying to do.” He noted that RC4 had only
10ft MDF panels. Each panel has a set of tools installation be a lot calmer, since they knew five RC4Magic Series 3 DMXmot available at the
behind it, which is prepared with motors, lights, everything would come from a single place. This time, and that he actually had four of them. “So
wireless dimmers and controllers, in order to also made it easier for us, in case we needed we needed to make sure that it was all stable
programme their movement and intensity, thus to troubleshoot something, to know where to for the duration of the installation,” he added.
using them to tell the story one drawing - or look.” Martir concluded by saying that he was
shadow - at a time. A longtime Avolites fan, Martir points out humbled over the positive reaction to his
“The installation is programmed to music that he regularly uses the Tiger Touch II for his creation. “There is a great connection between
composed by George Blacklock, Oiram and fashion show lighting designs, which require what the technology allows us to convey and
Cabinet of Living Cinema to tell the story, as quick setups and intuitive control. “Most of my the human element of the piece,” he said.
the light unveils in coordination with the score, dimmers are Avolites,” he commented. “The more you are into it, we have realised,
revealing the images that have been created. A Martir reported that the Unique installation it becomes a type of meditation for people.”
juxtaposition exists between the box, image, at Creighton University came off without a TPi
shadow, movement and music in which all hitch, and the plug-ins and programming ran www.avolites.com
collectively create a new experience for the very smoothly. “The desk performed perfectly,” http://satorestudio.com/
16
TPI_S-Series_Launch.indd 1 27/10/2015 8:41:51 AM
EVENT FOCUS: Ane Brun
Three days before Norwegian songstress beginning of what he called a “complimentary starting off directly from school. He said: “I
Ane Brun was due on stage in Manchester, dynamic”, in which both performer and was tired of school so I went to the local sound
her FOH and Monitor Engineer Oscar engineer have consistently endeavoured to company. I was really into music and knew I
Söderlund was lying in a hospital bed, improve the quality of their live offering. wanted to work in the industry in some way,
quite understandably feeling the effects of He explained: “Her records have become and engineering was the best choice. I gradually
a disagreement between his enduro bike more challenging over the years, taking it up stepped up the shows and gigs, always trying to
and a tree. Nevertheless, true to the adage a notch every time, and we always want to do move forward and raise the bar. Working with
made famous by Freddie Mercury and co, the same from a production standpoint. I try to the artists I choose gives me freedom to grow
he and his new Allen & Heath desk were take it as far as possible live and get it as close and they trust me to deliver their vision live. It’s
both present and correct at the city’s Gorilla to the records, making sure I deliver them in an a very privileged way of working.”
venue to ensure that the show did, in fact, interesting way. Ane knows what she wants but Söderlund has had his own freelance
go on. also trusts me to do a good job. company, Parashoot, since 1999 and, during
Söderlund has been an integral part of “It is very challenging to put Ane’s later this time, has accumulated a wide range of
Brun’s live production since he joined the albums into live sound. It’s a constant journey stock - consoles in particular. “I try to focus on
ranks in 2007, stepping in to oversee audio and one that teaches you new tricks all the creating a nice mixing environment and this
responsibilities for the singer / songwriter’s time.” includes consoles, outboards, microphones, and
Changing of the Seasons tour. This was the Söderlund has been on the road since 1990, speakers. To create a perfect signal chain from
18
EVENT FOCUS: Ane Brun
Opposite: FOH and Monitor Engineer Oscar Söderlund has been directly involved with the development of the dLive. Below: Söderlund tries to take Brun’s music as far as possible in a live environment,
making sure he delivers her records in an “interesting” way.
start to finish is my ultimate goal, but this is a factory build. I feel really close to this console fondness for, his Allen & Heath desk.
constant journey as I am such a gearhead!” because I have been part of the process. He said: “I have found myself working the
After hearing the capabilities of Allen & “When I got the beta console I couldn’t hpf on Ane’s vocal in a span of 185-233hz,
Heath’s iLive T-series for the first time on a PJ have hoped for it to be this good. They’ve done depending on the song. It is so precise in its
Harvey tour in 2009, Söderlund instantly bought remarkable work with the preamps, which are, handling of the source you put through it. The
an iLive-T112 and has continued buying more I think, the best sounding preamps in the digital same goes for the EQ, in that even the smallest
Allen & Heath consoles ever since. live world. They are super flat, natural, and have changes can make a huge difference. When
This loyalty, along with his willingness to a good dynamic range. This is strengthened by using the dLive it really feels like I’m using a
suggest improvements to the iLive desk, led really good effects and EQ, just like the iLive. It’s surgical tool!”
to Allen & Heath consulting him during the been a joy to use the dLive ever since the official That said, Söderlund was still keen to point
development of its new offering - the dLive. release,” Söderlund added. out that the dLive is designed to deliver this
Over the last two years, Söderlund has made “I knew that the team at Allen & Heath precision whether the surgeon in question is
trips to the company’s factory in Penryn, were developing a nice preamp, but they dealing in acoustic guitars and violins or leather
Cornwall and lent his insight throughout the really knocked it out of the park with the end jackets and distortion pedals!
dLive’s beta testing phase. product.” He concluded: “No matter what you are
He commented: “I initially had suggestions With a mixture of instruments such as trying to create, the dLive gives you the tools to
for the iLive that were held back due to lack of upright bass, violin, vibraphonette, acoustic do it. The desk really does nurture creativity and
computing power. We had to wait until the iLive and electric guitars and keyboards, combined that means it is a lot of fun when mixing live!”
Mk II came around, which ended up becoming with large reverbs, delays and sometimes even TPi
the dLive, but we continued the process of distortion on the drums, the system (along with
working together. I saw the first mock ups of Söderlund himself) has a lot to deal with!
the dLive two years ago, and two Christmases The key success in this challenge is www.anebrun.com
I have been to Penryn. The first year it was a rooted in Söderlund’s strong work ethic, and www.allen-heath.com
cardboard box, then the next year it was a complemented by his familiarity with, and www.parashoot.se
19
EVENT FOCUS: Nexo at the Panto
It’s pantomime season, a quintessentially elaborate theatrical effects. By the early based Orbital Sound, which had 40 pantomime
British theatre form that has never really 1800s, the pantomime’s classical stories were productions in the UK this season. Yes, you read
caught on anywhere else in the world. As supplanted by stories adapted from European that right – 40 productions, all running from
Andrzej Lukowski, the Theatre Editor for fairy tales, classic English literature or nursery mid-December to early 2016. Working closely
Time Out London, said: “Frankly, pantos are rhymes. The arrival of the modern clowns like with the UK’s specialist producers First Family
so weird…I’ve never managed to explain Joseph Grimaldi brought comedy and slapstick Entertainment, Qdos and Evolution, the seasonal
what they are to somebody who didn’t to the panto formula. load takes Orbital teams all around the UK, to
already know.” Traditionally performed at Christmas, today’s regional auditoria as well as some of the largest
Let us try. Dating back to the 17th Century, pantomime stories include Cinderella, Jack theatres in the country, such as the 2000-seater
the development of English pantomime and the Beanstalk, Aladdin, Sleeping Beauty, Royal Opera House in Manchester, the Theatre
was strongly influenced by the continental Mother Goose, Dick Whittington and His Cat, Royal in Newcastle, and the Hippodromes of
commedia dell’arte, a form of popular theatre Beauty and the Beast, Snow White and the Bristol and Birmingham.
that started in Italy. This street entertainment Seven Dwarfs, Peter Pan and The Wizard of Oz. “The production values are of the highest
made its way to the theatres of 18th Century Scripts change from year to year, but generally order,” explained Headlam. “These shows ask
Britain, where production values really took off: contain four strands of humour including sight- for a lot of volume, with live bands competing
fusing spectacle, music and ballet, the London gags, topical jokes, corny lines and downright against an audience of screaming kids. Yet
theatre scene added mechanical serpents and rude innuendo. In the UK, this is considered to because of the script and the jokes, speech
flying vehicles, and introduced animal roles - be family entertainment! intelligibility has to be perfectly clear above the
dragons, ostriches, camels. One person who does understand the music level.”
It gradually became more topical and mysterious art form of panto is Chris Headlam, Orbital has got the business of pantomime
humorous, often involving spectacular and MD at leading theatre audio providers London- down to a fine art. The company provides
20
EVENT FOCUS: Nexo at the Panto
Previous: The bright lights and extravagant costumes that are all too familiar to the population of the UK. Below: This season Orbital Sound was involved in 40 pantomime productions; The company
employed the services of French loudspeaker manufacturer Nexo to develop sound solutions for the UK theatre market.
design, logistics, support, accommodation, for is a latest generation product from the modern and I believe this is the new benchmark when it
more than 150 crew throughout the season era of loudspeaker modelling. The ID24 has comes to feedback rejection, often the problem
– in fact, the process starts in early summer. a user-rotatable horn, providing 60° or 120° that lets down the baby line arrays.”
The company joined forces with some of the HF coverage; at 120° it is ideal for our delay, Headlam cites another Snow White and the
UK’s top theatre sound designers, scattering under-balcony, infill applications in the theatre Seven Dwarfs production taking place at the
the likes of Gareth Owen, Rick Clarke, Richard auditorium.” elegant Marlowe Theatre in Canterbury. For
Brooker, Chris Wybrow and Tom Lishman into The bijou ID24 cabinet (310mm wide by this 1,200-seater, with two balconies, Orbital
the provinces. In the most prestigious venues, 132mm high) contains twin four-inch drivers has installed six arrays of GEO M6, at performer
they bring in high-spec sound reinforcement to in combination with an HF compression driver level, upper stage level for balcony one with
deliver SPLs high enough for the all-important offering two preset directivity options. Since the two more six-cabinet arrays flown over the
audience interaction, while maintaining a duty box can be mounted vertically or horizontally, proscenium arch to address balcony two. In
of care for the delicate ears of young audiences, this effectively gives the user four different Manchester, at the historic 1,800-seat Opera
getting their first experience of live theatre. This directivity options in a cabinet that, Nexo House, the GEO M6 is deployed in left and right
is no easy task. reported, is the smallest it has ever created. 12-cabinet arrays, under the direction of highly
This season, for the first time, Orbital “Vocal projection is very important and these experienced Sound Designer Chris Whybrow.
has sourced its new systems from French cabinets sound natural even at high SPL. Nexo “The SPL and throw of this little cabinet almost
manufacturer Nexo, which recently squared its has made it easier for theatre sound designers; defies logic. In this auditorium, we’re still getting
R&D sights on the theatre market. In Bristol, a the ID24 is small enough, powerful enough and consistent SPL in the 90s!”
little bit of history has already been made, as light enough for use in multiple applications. As you’d discover if you went to the 11am
Orbital became the first in the world to install In Bristol, we’re using two different Nexo line show, packed with 1,800 primary school
Nexo’s brand-new ID Series loudspeakers, arrays with the ID compacts, and as a rental children, jumping around like excitable frogs
developed with under-balcony fills in mind. supplier, I’m impressed by the ‘family sound’ and screaming the classic panto responses, the
For the Hippodrome’s production of that makes all these loudspeakers sound so defining characteristics of pantomime sound are
Snow White and the Seven Dwarfs, Sound cohesive as a system.” that it has to be dynamic, highly energetic and
Designer Tom Lishman is working with three One of the hallmarks of pantomime is the LOUD!!!
complementary Nexo loudspeaker systems, highly interactive participation of the audience.
a modular STM line array for the main PA, “This is not a respectfully hushed environment,” “Oh no, it doesn’t!”
supplemented by a GEO M6 compact line array said Headlam. “There’s a lot happening on and “Oh yes, it does!”
flown above the proscenium arch to serve off stage. Sound imaging quality is a priority “Oh no, it doesn’t!”
the second balcony, and numerous compact so that the audience remain engaged, even “Oh yes…. [right, that’s quite enough of that -
cabinets from the ID Series installed as under- with a very crowded stage, but it is harder to Editor]
balcony and front fills. maintain the imaging when you’re working with TPi
Chris Headlam is as energised as a high SPLs. We keep our speaker line arrays low,
pantomime Dame about his investment in the closer to the performers, but this increases the Photos: First Family Entertainment
little ID boxes, buying the first units off Nexo’s risk of feedback. This season, we’ve used Nexo’s www.nexo-sa.com/en
production line for Orbital rental inventory. “This GEO M6 compact line array on several shows, www.orbitalsound.com
22
Aerial photograph ©DeSciose 2015
Make everyone happy.
Even the neighbors.
“The rig almost defies gravity with the sound staying put exactly where
you want it. The place was sold out every night and everyone in the
venue had nothing but positive things to say… and we didn’t hear a
peep from the neighbors – exactly what we were looking for.”
Jason Decter
FOH Engineer, Bassnectar, at Red Rocks Amphitheater
The goal of any production is to make everyone happy. Artist. Audience. Promoter. Crew.
And now more than ever – the neighbors.
To uniformly cover the audience with breathtaking audio that easily meets the volume demands of the production is one thing.
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NITIN SAWHNEY
MONITORS SUCCESS WITH KLANG
RENOWNED PRODUCER AND COMPOSER, NITIN SAWHNEY, USED KLANG:TECHNOLOGIES’ 3D IEM SYSTEM
ON HIS MOST RECENT TOUR. THE PRODUCT AIMS TO GIVE THE ARTIST A MORE ORGANIC ONSTAGE SOUND AS
WELL AS ALLOWING FULL CONTROL OF THEIR MIX. TPi’S STEW HUME WENT ALONG TO THE LAST DATE OF
THE TOUR TO GET THE OPINIONS OF THE CREW AND MUSICIANS.
For some artists, there is a hesitation In last month’s TPi, we covered a showcase tours with eight other musicians, entertains fans
to make the leap from wedge monitors of the new KLANG system courtesy of its UK with his fusion of traditional Indian music and
to IEM systems due to fears such as distributor, HD Pro Audio. After the event everything from drum ‘n’ bass to folk-influenced
unnatural sound or being disorientated by Andy Huffer, HD Pro Audio’s Sales Director, pieces.
a traditional stereo mix. German company commented: “If initial client reaction is Speaking to Sawhney backstage on the
KLANG:technologies has developed anything to go by, KLANG:technologies’ 3D last date of his tour, he discussed about the
a solution with its KLANG:fabrik and IEM processing has the potential to be the next KLANG:fabrik, stating: “It is very effective in
revolutionary 3D IEM processing. major step in the evolution of stage monitoring. allowing everyone to work with their own
Rather than providing a simple left and With multiple musicians able to control their sound and control exactly what they are hearing
right mix, the 3D IEM gives artists the ability own mix with standard touch screen tablet in their in-ear monitors. It’s a fantastic system
to manipulate where the sound appears to be devices plus the revolutionary effect of the 3D and it has noticeably improved everything for
originating from, creating a simulated acoustic processing, they can bring greater separation, us. We are able to play a lot tighter and really
environment. The KLANG:fabrik also puts the clarity and more importantly, reality to their listen to ourselves as well as each other. This
power of an artist’s mix in their hands with personal mix.” means we get to enjoy the gig and that often
an app that is controlled on a tablet. Pascal Several artists and bands have already sung means the audience enjoys the gig as well.”
Dietrich, Founder and Chief Marketing Officer the praises of the KLANG:fabrik including John Sawhney’s FOH engineer David McEwan
of KLANG:technologies, stated: “It’s all about Dolmayan, drummer for System Of A Down. The explained how the relationship with HD Pro
unrivalled sound transparency for live and studio system had not been used on a tour in the UK Audio came about: “I got in contact with Andy
musicians. Our 3D audio technology lifts your until HD Pro Audio supplied it for producer and Huffer from HD Pro Audio because I wanted
stereo headphones and IEMs to the next level.” composer, Nitin Sawhney. The producer, who an Avid S3L to take on this tour.” It was at this
24
EVENT FOCUS: Nitin Sawhney
Opposite: Nitin Sawhney and his eight fellow live musicians all making use of KLANG:technologies’ KLANG:fabrik and revolutionary 3D IEM processing. Below: David McEwan standing by his Avid S3L;
Both FOH control and the KLANG:technologies equipment was supplied by HD Pro Audio.
time that McEwan saw the KLANG for the first were more than happy with using the app. Nitin technology. Hopefully he’ll be among the first
time and got offered the option to take it on himself was blown away by how effective it was of many converts to the wonderful world of
the road. and how easy it was to use.” KLANG.”
“We had three days rehearsal when Tom McEwan added: “Nitin hasn’t even touched To learn more about the system, KLANG has
Turner from HD Pro Audio came out to set up a his set up since we rehearsed. He got it right produced a short video available online that
KLANG system and to show us how to configure and left it.” The crew were keen to comment demonstrates its 3D monitoring technology
it with the Dante matrix.” For this short tour, how smoothly this whole tour had been running and can be experienced with any stereo
McEwan explained that he used a Focusrite and it saved so much time while setting up at headphones. You can also download a trial
RedNet AM2 device to take analogue feeds soundcheck. “With a band like us with nine version of the app to get a feel for the user
from the Avid stage boxes and convert to Dante musicians and several instruments, soundcheck interface.
which then feeds into the KLANG:fabrik 3D IEM can be a bit of a nightmare. The KLANG system TPi
processor. has reduced are souncheck time significantly.”
Backline Technician for Sawhney, Paddy Dell, Huffer summarised: “Hats off to Nitin www.nitinsawhney.com
spoke about his experience with the KLANG and the band, and to David for taking the www.klang.com/en/home
app. “After two rehearsals all the guys on stage plunge with this great new live performance http://hdproaudio.co.uk
25
PRODUCTION PROFILE: Bring Me The Horizon
Below: The band enjoy a little bit of sparkle on this tour, thanks to SFX vendor, BPM.
The city of Sheffield typically gives me is the kind of no-nonsense business man that summer of 2013 and by the following year it
three reasons to inappropriately high five Yorkshire breeds in abundance. It’s just a mere was clear that Highcroft needed to grab a bunk
certain strangers: whoever is within reaching observation that the majority don’t come from in their tour bus: “After the advancing stage it
distance when northern accent warrior Sean a DIY hardcore punk background and boast fast just made sense to see it all the way through,
Bean brings epic death scenes to the silver food logo knuckle tattoos… and give the band my full support.”
screen; anyone able to quote the Monty To ensure this can happen seamlessly, he
Python genius of steel city gentleman CONSISTENT PRODUCTION SUPPORT credits his team for their consistent support:
Michael Palin; and Henderson’s Relish “I got into the touring business 14 years ago, “You have to have a crew that you can trust
advocates for knowing the key to a decent when I was working with a friend’s band. I then 100%. I’ve got a great bunch of lads who keep
vegan Bloody Mary (this one usually involves started a small rehearsal studio in Leeds and this show going time after time; without them,
hand-slapping barmen when unable to lift the bands started trying to hire my van to get there is no way I would be able to do both jobs.
my head). to their gigs! One thing led to another and I My Crew Chief, Oliver ‘Hutch’ Hutchinson [also
In ‘our world’ however, Sheffield should started touring full time until I opened my own FOH Engineer and Video Operator - yes, really!],
also be noted for the likes of electro metal splitter van hire company. I’ve been on the road is my right hand man and we work in unison to
merchants, Bring Me The Horizon. The five piece ever since,” he said, as a Burger King crown achieve the show the band want.”
has caught the attention of mosh pit forging gig helped to move his glasses back in their usual The first few months of this touring cycle -
goers across the globe so effortlessly that their resting place. which began with warm up shows in Liverpool
reputation has ensured their touring production His connections with up and coming bands and Oxford, stormed into Reading and Leeds
values have been ramped up, bringing a full led to a job with Raw Power Management, festivals, then went to North America, Europe
throttle, gut churning technical feat to the where he helped to package some of its roster’s and the UK before finishing in Russia - had
forefront of their shows. touring essentials. “I was looking after a couple several challenges for the crew, the first being a
Whereas the band could once be found in of their bands for pre-production and tour lack of available pre-production time. Highcroft
the sweaty depths of the country’s stickiest budgeting, including You Me At Six [whom continued: “We took the same show from
venues (think sweat rain), they’ve progressed he’s worked with since 2008] and Bullet For My the US into Europe and when we hit the UK,
into one of the nation’s most reliably Valentine,” he explained. the production stepped up for a few shows
entertaining metalcore acts worthy of main It was during this time that Highcroft further before moving to the B rig [no video screens or
stage festival glory. They’ve also seemingly developed his own skills and became versed touring PA] for the club shows that were added
established a touring vibe that has their crew in managing a dual touring role, which he first at a later date. Going from the US to Europe
and suppliers genuinely gushing about working did with You Me At Six: “They started doing required some swift freighting from EFM and
with them. Not that any of that takes away from production tours and as I learned more and then a re-build for the European and UK shows.
the blue-aired (probably unprintable) grit of more about how the technical side worked, We did 15 shows back-to-back going from the B
their grassroots performances, mind. seeing the ins and outs of a full touring to the A rig, and it definitely took its toll on the
Helping them achieve continued success production, I learned those managerial skills crew but I’m proud to say that they came into
from country to country over the last couple too. With that band, there was a point where I the larger shows without so much as a moment
of years is their Tour and Production Manager, could take on both roles, which is what I now of hesitation.”
Rob Highcroft. As hard a grafter as one might do for Bring Me The Horizon.” Stage Manager, Joshua Perrée, was brought
imagine for a relatively young PM, Highcroft The band have been a client since the onto the tour by Highcroft, having worked
28
the complete pre-production
a n d l i v e e v e n t s c e n t r e fo r t h e u k
WWW.PRODUCTIONPARK.CO.UK
PRODUCTION PROFILE: Bring Me The Horizon
Below: This is the first time the band has embraced a two-tier video backdrop within their set design.
for him with You Me At Six and Bullet For My to be one gig in Sheffield, and I’ve been with meant to totally replicate the album sound
Valentine since 2013. On a typical day, Perrée is them ever since - which is over two years though, because it doesn’t sound compressed.
tasked with making sure the production trucks now! They’re the kind of band people like to They’re a lot more dynamic live than you can
load into venues at 7.30am, arranges for the stay with,” he explained, post soundcheck in capture on record.”
catering team to set up so that breakfast can London. Will we need earplugs? “Both the band and
be served on time, ensures the lighting crew The original idea when discussing video their fans are very loud, no matter where we
is on site to mark the rigging and truss points, (more on this later!) was centred around play, so there is a lot of screaming. But I try to
then oversees the hung video elements (on the projection. When those plans didn’t come stick to under 102dBA. That rarely happens
back truss), the flown PA and the special effects into fruition, the team opted for hi res video, though - their fans are so noisy!” he laughed.
requirements. and Hutch’s inquisitive nature got the better The microphone package comprises a
Said Perrée: “The staging elements have of him. “I was quite intrigued by the idea of it combination of Shure and Senhheiser models;
been different throughout the whole cycle but to be honest, I just wanted to give it a go,” he the bass guitar uses an Avalon DI and a Shure
it’s been challenging for me in a good way. smiled. “I was operating both FOH and video SM57, guitars use Shure SM57’s, Sennhesier
I coordinate the local crew and ensure that for their Reading and Leeds shows which was e904’s and MD421’s. For vocals, a Shure Axient
everyone on the touring crew has enough broadcast for BBC TV, so I felt the pressure a bit wireless microphone is the tool of choice. Hutch
labour to get their gear flown. The show has to there!” Credit where credit is due, Highcroft and furthered: “We have both Shure KSM9 and Beta
be ready for soundcheck every day and I do the his team managed to fit the entire production 58A capsules. The preference depends on how
same routine with our support bands, PVRIS onto both site’s main stages before headliners Oli feels vocally in the specific venue.”
and Neck Deep. Metallica consequently tore it down... Hutch often works with the tour’s sound
“I’ve worked with most of the vendors in For his audio mixing duties Hutch is using an supplier SSE (control package) and Wigwam
the past, which was a nice touch because it’s Avid Profile console with two DVI / VGA displays Acoustics, which has provided the PA. Pete
been such a long and busy tour. It’s also been (one for the desk, one for his video monitor). He Russell, Project Manager at SSE has been
good fun; putting this show on in 3,000-5,000 is also utilising an Avid Stage 48 input rack on working with the crew for last three years.
capacity venues and then bringing it into arena stage, connected via 4xBNC multicore APC UPS. Hutch explained why: “SSE is my preferred
size venues like Alexandra Palace are the kind of Interestingly, he’s opted for Waves C4 company to use because they’re very good
things you have to expect on long tours like this, plug-ins as a “gentle parametric”, instead of as a at tech support and they have very well-
but it’s thankfully worked out smoothly.” traditional multi-band compressor. maintained equipment. They’ve also got some
He describes the Profile as “a worldwide great people working for them, and it’s been
THE MULTI-TASKING MAN standard”, noting reliability and ease of use (he brilliant having the PA with us for the larger
The aforementioned Hutch is a man of many can get all of his channels on one layer for quick shows.”
talents, and looking at his workstation, a man accessibility) as key features. On the style of mix
who knows how to work many black boxes in he generates, he commented: “I need to make TEASING THAT TROUSER WOBBLE
various sizes. An influential part of the technical sure the fans are hearing what they’re expecting Wigwam Acoustics System Tech, Jack Murphy,
team, he joined the camp by chance, after a to hear, especially with the new album because joined the tour for the five dates that required
one-off gig led to an unfaltering friendship. it’s so melodic - they should get the full force a PA system - a d&b audiotechnik J-Series.
“I filled in on monitors for what was meant of all the hooks in all the right places. It’s not Speaking of the sound design at Alexandra
30
PRODUCTION PROFILE: Bring Me The Horizon
Below: Singer Oli Sykes uses Shure microphones - robust enough to take that throat rattle! Tour & Production Manager, Rob Highcroft means business...
Palace specifically, he stated: “I designed the even coverage. And,” he laughed, “the INFRA is acoustics and the delays complement that.”
sound system for the venue and made the there for a bit of trouser wobble!” [Editor’s note: The main PA system comprises (per side) 10
necessary sub array calculations. I decided to This also works spectacularly on shirt dresses]. boxes of J8’s and four J12’s. Subwoofers are
place infill at the front of the stage and then “Alexandra Palace is a challenging venue to configured in a mixed sub array pattern of 16
have a mixed sub array of d&b J-SUBs and d&b work in, so we’ve flown some delay speakers J-SUBs and four J-INFRA. Infill consists of four
J-INFRAs. The reason for that is because it’s such after the FOH position. The size of the venue Y10Ps, and outfill is three ground stacked V8’s
a sub-heavy show and we wanted to make sure isn’t out of the throw of the J- Series but the per side. The delay hangs are five V8’s per side.
that we got a real impact across the front for big arched drapes really help with the room The system is driven by d&b D80 amplifiers and
31
PRODUCTION PROFILE: Bring Me The Horizon
Below: Crew Chief, FOH Engineer and Video Operator, Oliver ‘Hutch’ Hutchinson; Monitor Engineer, Jared Daly explained that with their current set up, the band are happy within one or two songs
during soundcheck; Lighting Designer, Ben Inskip; The ‘A’ team with Stage Manager, Josh Perrée.
controlled by R1 V2 software. All processing, He introduced the band to a new way microphone with a Beta 58 head, which was
time alignment and system EQ is done within of thinking when it comes to their personal subsequently adopted on the US tour. “The
the amplifiers via the R1. monitoring systems. Shure’s PSM1000 IEMs, AXT600 has made my life so much easier,”
The hung drapes made a difference to AXT600 spectrum manager and the AXT200 explained Daly. “It’s a big step up from what the
Murphy’s ideal sound. “The drapes dampen wireless vocal mic are now key features to their UHF-R system offered, and being able to sync
the reverberant field as it’s such a big room,” on-stage comfort. With input from each of the it with Wireless Workbench is a game-changer.
he continued. “I was glad to see them in place band Daly has upgraded their in-ear monitoring Now we have the Axient mic as well, I can check
for our show as they make a big difference and helped to incorporate the use Shure wireless audio levels throughout the show and back
- I’d always recommend having them in technology more extensively. off the vocal gain on the fly remotely via the
Alexandra Palace. The acoustics is also why He said: “The band have always used in-ears; software if it’s too high. Oli constantly switches
we chose to use delays - to keep the system they all have very specific mix requirements, between singing and screaming, so finding a
angled downwards instead of entertaining including click tracks and cues. The band and gain setting that works for both is a priority,
that reverberant field. This is in the interest of crew have been using Shure PSM900 units for and the ability to change it during the show is
keeping the best sonic quality throughout the a few years on stage; they owned those when excellent!”
show for the audience.” I joined. Oli [Sykes, singer] always used wedges Given the crowded state of RF spectrums
So, the next time you’re being flung around for monitoring on-stage, right through their today, Daly has found the spectrum manager
a circle pit in a fancy buliding on top of a hill, 2014 dates, but as that tour was finishing, they useful on the current tour. “At some of these
remember to look up! were thinking of upgrading, because they were gigs, I’m scanning for sources of interference
getting a few dropouts at gigs where the RF throughout the show. When we arrived at one
A SHURE THING spectrum was really busy - like at festivals. So festival in the States, I couldn’t find a workable
Australia-based Monitor Engineer Jared Daly, at Wembley in December 2014, they tried out a set of frequencies for us to use before our
joined the band’s core crew in 2014 - again by rack of Shure PSM1000’s, and Oli changed over changeover time at all. But when we set up
chance upon filling in at the monitor position. to in-ear monitors. The guys all liked the 1000’s, and were line checking, the frequency manager
Daly inherited the use of the band’s own and we started using them in 2015. They’re automatically found a clear set of frequencies,
monitor system (bought in 2012) - an Allen much more stable in a festival environment; including multiple redundant back-up
& Heath iLive digital mixing system, which the two antennas on the beltpacks make all the frequencies, and assigned our gear to them.”
comprises an iDR-64 MixRack and iLive-R72 difference.” Daly has future plans to switch more of the
control surface. The iLive IDR is Dante-enabled In August, when the band played the band’s live rig over to a wireless operation and
for both live show recording and virtual 2015 Reading and Leeds festivals, the Axient control it via Shure Wireless Workbench. “We’re
soundcheck. Daly is also utilising an iLive AXT600 spectrum manager was added, and Oli putting wireless routers into the back of the
Monitor Control app via Apple iPad. began trialling an AXT200 handheld wireless guitar racks now, so that we can control and
32
PRODUCTION PROFILE: Bring Me The Horizon
deploy frequencies over the network, including This is the closest to a wedge mix that we systems ensure these will keep going in the
the UR4Ds. Basically, we’re linking everything do, with lots of drums and vocals. Lee prefers event of unit or drive failure, whereas there was
and because it’s all Shure and it’s compatible to only listen to the SM57 on his in-ears as it no plan B before.
with the spectrum manager, it all works.” replicates the closest tone coming from the The BlackBoxes are placed at stage
The band all use JH Audio molds: singer cab.” right, racked with the band’s samplers and
Oli and guitarist Lee Malia use JH11’s while Daly’s monitoring duties are completed by interfaces with Jordan Fish’s electronics world.
keyboardist Jordan Fish, bassist Matt ‘Vegan’ John Jones (JJ), the band’s session guitarist. He He continued: “I operate the players with a
Kean and drummer Matt Nicholls opt for JH16’s. added: “JJ has a general band mix, with some footswitch to begin the set each night, just
Daly gave an insight into what he is mixing for selective panning to help him identify his playing before the band go on.
the band. “Oli has the closest thing to a CD mix, from Lee’s. JJ prefers to have himself slightly “We are using the units for click tracks,
with very prominent vocals. The main goal with panned to his left ear, this is because he likes player cues, basic backing track reinforcement
his mix is for his vocal to sit just above the mix to have Lee’s guitar quite loud so that he can and also to send timecode to the lighting and
at all times, whether he is screaming, singing or essentially play off Lee during the show rather video consoles so that every aspect of the show
whispering, it always needs to be the focus. than just concentrate on the click.” is in sync. For future tours we’re looking at using
“Jordan has quite an electronic-based mix On stage, touring monitors from SSE the device to send sine waves to open gates at
but also is very particular with the sound of comprise two d&b audiotechnik B2’s, two d&b FOH, as well as for further cues, such as special
Matt’s snare drum. Jordan has recently started Q-Subs and two d&b Q1’s. Concluded Daly: “It’s effects. We had the option to use 16 channels
hearing a lot more guitars and has a talk-back been such a busy tour but the crew are really at most before but with JoeCo we now have the
microphone that is sent directly to his backline smooth at line checks by this point, they’ve option for 24. We’re trying to get as creative as
tech Jamie McKivitt and myself throughout the come right down to one or two songs, and possible!”
duration of the show. This way he can let us everyone is happy with what they’re hearing out The backline crew is completed by Joey
know of any problems he might be experiencing there.” Black, Jon Dunford and Andy Clements.
such as sensitivity levels. Most of the time he
communicates signals to Jamie, but it’s also a BACKLINE INVESTMENTS SEAMLESS TRANSITIONS
very important part of the set up for me because Delivering the emphasis on their electronics Lighting Designer Ben Inskip has worked with
he like to express what he needs directly. skills, Bring Me The Horizon have recently the band for the past five years. He’s since
“Nicholls likes a big reverb sound that is very purchased two JoeCo BlackBox Players for use become something of a permanent fixture as
compressed, and he’s also a fan of light gates as a ‘failover system’. Electronics Tech McKivitt production demands have increased. “They
so that he can play his toms at any velocity and specified the systems. He said: “I found out were always a popular band with their diehard
knows not to worry about gates opening and about the BlackBox Player by googling different fans, but as they’ve begun to appeal to more
closing. Vegan likes to keep it simple: kick, snare, redundant playback solutions for the stage. I and more people, their shows have obviously
hats, click track, minimal electronics and a full discussed it with a few people who had seen gotten bigger and I’ve been required to support
- slightly compressed - bass mix. He prefers to them being used and the failover feature is one them on tour a lot more. It’s been great for
hear nearly 100% mic over DI so that he knows of the main reasons we chose to use JoeCo, as me because I love touring with them!” he said.
exactly what his bass cab is outputting. our show is becoming more dependant on solid “These are some of the biggest shows they’ve
“Lee’s mix is very guitar orientated - every playback in the way that it triggers our video ever done, production-wise, and it’s made me
note is like a rock mix, with plenty of overheads. and lighting cues in sync. The JoeCo failover up my game for sure.”
33
PRODUCTION PROFILE: Bring Me The Horizon
Below: Frontman Oli Skyes creates most of the visual content for the live shows; London’s Alexandra Palace played host to the biggest show of the tour, allowing SSE / Wigwam to implement the PA
requirements suited to the notoriously challenging venue; The band performed for 10,000 fans at their Alexandra Palace show.
Inskip planned for this tour with scalability “Lighting worked hand in hand with the video that require a seamless transition. Inskip
in mind, allowing for each venue to benefit content to immerse the audience,” he added. furthered: “I love that my laptop is so portable.
from the finished look. To pull this off, a pre- When not touring, Inskip is an Account It’s my flying system that I can take anywhere
rigged truss and a well thought out design Handler at Siyan, the tour’s lighting vendor. without any notice. I’ve really enjoyed having
was needed. His enthusiasm is clear: “I’ve been He continued: “I use Siyan because the kit and such a small set up and I’ve used it on a lot of
playing with their ideas and it’s developed into the people are fantastic. They have supported different types of shows with the band. My two
something more substantial now. It used to be my entire career. Being part of that family laptops and S1 Wings [duplicate Vista control
a very strobe-heavy show that highlighted them environment and having that amount of support and backup systems] really holds its own.”
going mental on stage, but now I’m helping to on the road is second to none. Siyan’s Jez At Alexandra Palace, the lighting crew was
steer their ideas and adapt them into different Johnstone project managed this job and, as completed by Matt Morris, Dan Everitt, Jo Zilm
designs. There’s no real theme as such but always, went above and beyond to make it all and Jim Potter.
visually it’s definitely a show that’s grown into happen.” Video Illusions were brought in to provide
something quite special.” From the Siyan warehouse, the LD specified the full spectrum of video across the tour’s
He explained that the band isn’t overly 36 Robe Robin Pointes, 24 Robe Robin LEDWash largest two shows in Cardiff and London. The
hands-on in terms of show design because 600’s, eight GLP X4 Bar 20’s, 30 Philips company had previously worked with the camp
they’re so trusting of the crew, but did note Showline Nitro 510’s, seven James Thomas for a DVD shoot at Wembley Arena in 2014.
that: “They’re getting more curious the video Engineering 4-lite PAR 36’s and 22 James “We know the crew and were so excited to
side of the show and Oli creates a lot of the Thomas Engineering 2-lite PAR 36’s. work with them again,” stated Video Illusions
visual content himself, but the development of For control, Inskip uses a Jands Vista S1 Director, Nick Whiteoak. “We love Bring Me
this tour has been a learning curve together.” control surface, connected to a PC laptop The Horizon’s music so being able to provide
The video and the lighting cues run off the running Jands Vista v2 control software. This set video for their biggest shows on this tour after
same timecode, and Inskip spends a lot of time up enables him to access the full functionality their success at Wembley was a very exciting
programming with Hutch. “He and I will try in an S1 that can usually be found in Jands’ full prospect for us. We really like the way the band
different things out, experiment with colours, size flagship console, the L5 - the desk he chose work and we’re big fans of the new album too.
bring different lights in or fade lights out until to use for the band’s mammoth Reading and Even as they toured America, we had constant
we’re happy with the final look.” Leeds festival shows. For ease of touring the S1 communication about bringing the video aspect
The is to deliver a big impact from the provides a powerful console in a small package into the show.”
lighting rig, making sure it stood its ground - a main pulling point when you’re effectively The company was given the brief to
when the video screen ran at its brightest. doing a mixture of club and arena-size shows implement a 56ft by 20ft LED screen - flown
34
PRODUCTION PROFILE: Bring Me The Horizon
Below: Backline Tech Jamie McKivitt; All Access Staging supplied stage risers for the double-impact video-heavy staging.
upstage - with two 56ft wide LED steps Pro 15-inch Retina with Resolume Arena 5.01 of 25FPS LTC timecode from the stage into a
downstage. In addition, two IMAG screens, software (and a MacBook for backup). He Radial SW8 Auto switching DI. “They switch
HD projectors, full HD PPU racks and camera utilises a Novation Launchcontrol XL MIDI automatically so if one dies, the feed via a single
operators were provided. The engineering racks controller in order to control various elements output goes to my Blackmagic Ultrastudio 4K
comprised a Panasonic AVS - HS410 vision of Arena such as the Master Intensity, Timecode interface,” Hutch explained.
mixer, a Marshall 19-inch multiview monitor, Offset, RGB Levels and Strobe Opacity and Video Illusions also supplied two AV Stumpfl
Blackmagic Hyper Deck Pro 2 HD recorders, two Strobe Speed. 16ft by 9ft rear projection screens and two
Barco Image PRO 2 scalers and LED processors, Both Mac machines run on a simultaneous HD projectors. Two DVI fibre lines went to
four HXC 100 CCUs, a six-way RTS Comms timecode feed into a HDMI switch. The the projectors from the PPU rack. Whiteoak
System, a Kramer HD/SDI matrix and a Kramer MacBook native HDMI outputs to a second continued: “Our racks were linked into Hutch’s
DVI DA. DVI monitor which is then attached to his Resolume media server so that he could use our
To control the video, Hutch is using a Mac Avid Profile audio desk and he sends two lines mix, and we then overlaid graphics on the side
35
PRODUCTION PROFILE: Bring Me The Horizon
Below: LD Ben Inskip thought carefully about his lighting design as the rest of the production stepped up; Laser diffraction effects were employed for the show.
screens. Overlaying the content as well as the points, deliver more subtle colour graphics. The restrictions, which reduce the allowable loads in
live footage really added depth to the visuals of whole show design is nothing short of amazing, order to accommodate the possibility of heavy
their show. It had a very cool impact.” from pryo to lasers and the bold lighting effects, snowfall accumulating on the roof.”
Video Illusions’ own VIL10mm 5,500 nitts it was their most accomplished production to
IP65 LED panels made up the screen, and, date.” THEORETICAL DIFFRACTION
according to Whiteoak, “really pack a punch,” The video crew was completed by Camera To quite literally add a little bit of sparkle to
due to their brightness. The product is also Director, Dave Irving, camera operators Ross the show, BPM was asked by Perrée to supply
quick to assemble. “Considering we had to rig Jordan, Rupert ‘Pesh’ Dean, Jack Lilley, Sam varying special effects. They included 14 CO2
270 panels and ground stack two large sections Wynne and Ross Gerry. Concluded Whiteoak: jets placed up and downstage - which created
of LED across the entire stage, we knew we “This was a great show to be a part of. The a 3D effect, four X-Treme shots with 20-metre
needed a product that could hold itself up band have got a great team around them and streamers and four confetti blowers. A focal
quickly during the set build. A few days before we were honoured to be a part of it.” point for the special effects department was
the first gig, we were notified that we could Charlie Longcroft oversaw the show’s a 30-second silver twinkling waterfall, created
only fly the top five rows of screen and would house rigging duties at Alexandra Palace, and by Ultratec. It fell between band members
need to ground stack three rows, and drop the explained why the change to the original video on both sections of the stage during a guitar
top section in due to weight restrictions. The design had to happen: “We were given the solo.
rigging was challenging but it worked out really rigging plot by Live Nation and then translated Matthew Heap, Head SFX Technician from
well,” he added. it into the roof. The upstage video wall was too BPM stated: “We find Ultratec is the best
The graphics are timecoded, with the band’s heavy for the allowable winter snow loadings, product to use for the kind of effect they
playback system and enable a full impact to hit and to verify the actual loads, we used a Kinesys wanted; its not smoky and is very vibrant. It
the audience. “At times there’s lots of full-frame Load Cell System at each motor point. really created the desired look for that point in
graphics and lyrics on screen which work on “The intended flown design had to be the show.”
time for the
JOECO TPicrowd to sing
magazine recalculated
along to, and1at09/12/2015
DEC15_Layout other 16:16 Pagedue1 to the winter loading The special effects are operated by a wireless
BLACKBOX PLAYER
a multi-track for the 21st century
36
Harmony needs balance, silence, and quality of light.
SCENIUS
The sound of light
Below: The brotherhood - Bring Me The Horizon continue to progress as a touring unit, leaving their suppliers keen to work with them again; Merch Manager, Tom Begley has been keeping the
band’s fans kitted out for seven years.
Galaxis Firing System, allowing cues to be driven Director, Mary Shelley-Smith, there’s a key skill more creative control than most of the bands
from anywhere in the venue. The band has used that ETTB are renowned for: “Being able to I’ve worked with. This results in much more
special effects throughout the tour, mainly on a accommodate everyone’s dietary needs while stylish end products which has helped to
dry hire basis, until the added wow factor was on tour is never a problem for our team. Paddy establish a brand rather than some throwaway
needed for the larger UK shows. For this, Heap Quilligan, Chloe Whitehead and Genti Hoxha designs knocked up the week before a tour. It’s
and Laser Operator Nick Lloyd were on hand. are travelling with the tour party and every day only a matter of time before more bands copy
Heap continued: “We came in to enhance the they create a mixture of tasty vegan meals and their set-up. They’re ahead of the game on this
package they already had, and this includes treats for the band and crew. thanks to Oli’s experience with his clothing
the laser design. We’ve got 12 4W Starbeams “Our team also look after the band’s dressing company, Drop Dead, which he established over
and two 18W OPSL lasers which create a really room catering needs as well as any additional 10 years ago. There’s no one better suited to
powerful effect. Theoretically, we’re putting requirements they may request in order to understand the importance of branding when it
diffraction lasers into the crowd; we’re taking feel fuelled enough to put on an outstanding comes to touring bands.”
the raw beam - which is projected into the back performance each night. We’d like to say a As a show-stopping night closes in London
of the venue - and placing a diffraction in front huge thank you to the band for having us back - - 10,000 fans can’t be wrong - and a Drop
of it. This then brakes down the layers into their they’re a pleasure to work with.” Dead afterparty ensues (fret not, inappropriate
high fives did not occur*), the last word goes to
Highcroft. There’s a clear sense of achievement
as this tour nears its end, due in part his choice
of coworkers: “I always try to use the same
people and the same companies. It’s a mixture
“Right now, the touring crew around Bring Me The Horizon are some of them really wanting to work with my clients,
of the best in the industry. I can’t ask for any more than that, can I?” and me developing long-lasting relationships.
- Rob Highcroft, Tour & Production Manager In this case, it’s great to know that as a team
we were able to produce the live shows that
the band wanted. All the hard work pays off
when that happens. Right now, the touring
crew around Bring Me The Horizon are some of
the best in the industry. I can’t ask for any more
primary colours at a lower power, making it That sentiment is echoed by Merch Manager, than that, can I?”
safe for the human eye.” Lasers are operated Tom Begley - long-time friend of the band TPi
by Pangolin software. Concluded Heap: “It’s and now TM for one of Highcroft’s earliest *possible lie
been an interesting job, and when you see clients, You Me At Six. “This tour was especially
the finished production on this gig, it’s all very interesting for me as I’d worked with and Photos: Ashley Osborn
worthwhile. It’s been a highlight of the year for become friends with almost all of this crew www.bmthofficial.com
us.” already because many of them have worked www.dropdead.co
with Rob and I on You Me At Six tours in the www.bandtours.co.uk
HOME COMFORTS, BRAND EXPOSURE AND past. I’ve worked for Bring Me The Horizon www.transamtrucking.com
LONG-LASTING RELATIONSHIPS for the last seven years and it’s amazing how http://allaccessinc.com
Tour busses come from MM Band Services and they’ve grown. It’s been great to be a part of http://videoillusions.net
production logistics via Highcroft’s long-term their biggest headline tour to date.” www.sseaudiogroup.com/wigwam
association with Transam. But we’re not finished Travelling with the band throughout the UK www.outbackrigging.com
quite yet… Having spent time on the band’s and Europe, Begley points out that Bring Me http://bpm-sfx.com
hugely successful world tour in 2011, rock ‘n’ The Horizon are pack leaders when it comes www.eattothebeat.com
roll catering titan Eat to the Beat was “thrilled” to offering their fans somewhat of a more www.siyan.co.uk
to be asked back for the latest part of this road personal touch. “The band has reinvented its www.mmbandservices.co.uk
journey. According to ETTB’s Global Operations merchandise set-up in the last year and have http://efm.global
38
Reflects credit on D80: the D20.
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THE PRODIGY
ALTERNATIVE DANCE PIONEERS THE PRODIGY ARE
KNOWN THE WORLD OVER FOR THEIR BLISTERING
LIVE SHOWS. FOR THE BAND’S LATEST TOUR IN
SUPPORT OF THE DAY IS MY ENEMY, A SUITABLY
OUTRAGEOUS PRODUCTION WAS IN ORDER.
TPi’s STE DURHAM WAS IN ATTENDANCE AT
BIRMINGHAM’S BARCLYCARD ARENA TO MEET THE
MINDS BEHIND THE MADNESS.
40
PRODUCTION PROFILE: The Prodigy
Below: The show design started with the floor package in February 2015, encorporating a concept centred around radio transmitter towers, with the striking truss roof structure acting as an
extension of the theme on a much larger scale.
41
PRODUCTION PROFILE: The Prodigy
Below: A total of 389 lighting fixtures were used in Hurst’s design, spread over 24 lines of DMX; He used old radio transmitter images as a conceptual launchpad; An early render of Hurst’s design.
Generic lighting for the audience was taken care contemporaries in embracing giant LED walls, Whiteoak’s brother Dave, also a Director
of by 16 4-cell molefays, 28 2-cell molefays and The Prodigy have kept video confined to an at Video Illusions, converted the HD camera
20 Robe Patt 2013’s. This base was brought to IMAG screen on either wing of the stage with signals using an ‘old school’ PAL visual effects
life by 204 moving heads, including 48 Robe the signals scrambled, overlayed and filtered unit to create composite images and outlines of
Pointes, 24 Robe Robin 100 LEDBeams, 12 with effects to enhance the radio transmitter the band’s vocalists, as well as adding effects.
Robe Robin CycFX 8’s, 54 Ayrton MagicBlades, theme. This allowed the screens to act more like Whiteoak continued: “Frontman Keith
46 Philips Lighting Showline BEAM 300 FXs, a scenic element than traditional IMAG, keeping Flint has those two spikes of hair and the MC,
14 Martin Professional MAC Aura XBs and six the band on side and the crew on their toes. Maxim, has huge dreadlocks so they create
Martin MAC III’s. Hurst brought in Kent-based Video Illusions distinct silhouettes on the screens. It looked
Hurst also specified 64 Philips Lighting SL to run the video production for The Prodigy’s amazing. Andy has taken over the effects
eSTRIP 10’s and three PixelRANGE PixelLine New Year’s Eve gig in 2013 at the O2 Arena operation and we send the signal through a
1044’s. He used his own High End Systems Hog in London. Director of Video Illusions, Nick Catalyst media server, where he now has full
4 Full Boar and Road Hog (as backup) consoles Whiteoak explained: “It’s our first full tour with control of the effects on the screens via his
for control, running via Art-Net. the band following the New Year’s Eve gig and lighting desk.”
Hurst commented: “I’ve been using High End two consecutive nights at Alexandra Palace. At The effect looks something between a night
Systems consoles for over 20 years now! It’s a first, much like another of our clients, Arcadia, vision CCTV feed and a found-footage horror
great console platform that works very well for The Prodigy said that they didn’t like video. film, causing shots of the band that would
me and my work. I currently have four Full Boar “They don’t see it as an integral part of look relatively benign with traditional IMAG to
4’s, four Road Hog 4’s, and a Nano Hog 4.” the show and if they do have it they want to take on a much more unsettling quality. Hurst
He has also recently invested in FOH racks for make sure it is different from what everybody adds to the disorientation further by washing
his console collection, which comprise HES DMX else is doing. They particularly don’t like any the grainy black and white images with brash,
Processor 8000’s, HES Super Duper Widgets clean shots. Andy’s brief was to make it look coloured filters.
and Luminex GigaCore 16Xt Ethernet switches, like we’re hitting the camera with a hammer! Undertaking his first gig with The Prodigy,
giving him a sturdy 32 lines of Art-Net from The strange thing was, and this is probably Whiteoak was warned that the band didn’t
each source. a testament to how good our working appreciate intrusive shots while they preformed
relationship is, that we knew exactly what he - frontman Keith Flint has even been known
VIDEO NASTIES meant! They were really pleased with how it to kick cameras that are too close for comfort.
Rather than joining many of their turned out.” Sure enough, on New Year’s Eve, Whiteoak
42
PRODUCTION PROFILE: The Prodigy
Below: The Prodigy whipped the Birmingham crowd into a frenzy; Stephen ‘Knuddy’ Knudsen, Stuart Jackson and Tanya Collier of newly-formed catering company, Little Pickers; The team from Video
Illusions; Longest-serving crewmember, Jon Burton, with his Midas XL3.
became backed against a subwoofer, with The team’s HD PPU and engineering rack THIS KIND OF THUNDER
nowhere to go, and had Flint bearing down on consisted of a Panasonic AVS-HS410 vision FOH Engineer Jon Burton has worked with band
him. “He got to me and just screamed in the mixer, a Marshall 19-inch multiview monitor, for 11 years, after initially being drafted in to
lens and started having fun with it. I think they Blackmagic Hyper Deck Pro 2 HD recorders, mix for Keith Flint’s solo project, Clever Brains
quite enjoy it now,” he laughed. Barco Image PRO 2 scalers and LED processors, Fryin’. Although it was some time after this that
Whiteoak continued: “We could use lower four HXC 100 CCU’s and 6-Way RTS comms he was asked to work with The Prodigy on a
resolution screens because the content is so systems, a Kramer HD/SDI matrix and a Kramer permanent basis, Burton has since become the
crushed but we like the audience to be able to DVI DA. longest-serving member of the band’s touring
see it fully. The company also provided two of its own crew.
While this has included arena tours, the bulk
of The Prodigy’s stage time during Burton’s
tenure has been on the international festival
“For me, mixing a show has always been a very hands-on experience, circuit. This has allowed him to fully-explore
the array of kit available to the touring sound
and I enjoy getting to grips with the mix, which involves making lots
engineer, naturally finding himself drawn to
of changes. On digital, everything’s buried and I lose interest trying to analogue desks.
find it. I like to be tinkering all the way through every song.” For this tour, Burton selected one of his
FOH Engineer, Jon Burton three Midas XL3 consoles - his favourite
analogue desk and one that he believes is a
cut above anything else. He explained: “I’ve
always preferred analogue, plus this is a bit of
We integrated HSL’s Martin LC40mm screen VIL10 LED screens, along with a full HD camera a dub reggae-style gig so it doesn’t lend itself
with the show design at Alexandra Palace and package. to digital desks. Often with the two vocals I am
went with the retro low res feel, but this looks Hurst commented: “Video Illusions have spinning an echo on one that is different from
better and works well with the show. Barry always done a great job with The Prodigy. the other.
Logan, The Prodigy’s videographer, was the Since the New Year’s Eve Show we have been “For some reason most digital desks don’t
Camera Director for the tour, while Dave was applying these kinds of effects to the all The allow you to do two things at once very easily.
System and Effects Engineer and Glenn Gardner Prodigy shows including festivals for the past They haven’t grasped the concept that most
served as FOH Camera Operator.” couple of years. Clean video is just not them.” engineers have two hands that we like to mix
44
PRODUCTION PROFILE: The Prodigy
Below: The ‘Crenelated Thumpunderous Array’ stretched from one side of the stage to the other,
creating a fearsome wall of bass frequency fortification.
46
SMALL
VERSATILE
LOUD
Below: Hurst wanted the gigantic lighting rig to be just as imposing even when the majority of the fixtures weren’t active.
gone back to V-DOSC this time because it has a been having great results with it on this tour. quieter in terms of dBA level.”
big 15-inch speaker in it.” We can achieve really even bass coverage with In addition to serving as the bedrock of his
Although Burton takes care when selecting very little dropout on the floor. academic pursuits, Burton’s theory plays a huge
each aspect of the audio system, he conceded “My least concern is it sounding great at the part in The Prodigy’s show. He explained: “The
that The Prodigy’s live show is “all about mixing desk. I want to make these songs sound Prodigy is all about the low end, the physical
the subs”. He explained: “We’re using d&b great for as much of the audience as possible. experience. What we’re going for is powerful,
audiotechnik B2 subs and d&b J-INFRA subs. We We’ve taken these peoples’ hard-earned money not loud. The J-INFRA subs don’t come on until
have J-Series on the sides because it’s easier and so we deserve to give them a good show. The around the fifth song, and when the bass comes
doesn’t have to throw as far. That is purely for Prodigy always give 100% and we should too.” in, you tend to know about it! It’s fully free of
weight and convenience.” For system control, Burton selected the subtle nuance and is all bold brush strokes really.
The novelty of choice was not lost on
Burton, and he relished having the opportunity
to tailor the sound to give the best coverage for
his audience. “I want to make these songs sound great for as much as the audience
“I care as much about the kids at the back as as possible. We’ve taken these peoples’ hard-earned money so we
the ones at the front and I think this tour sounds
deserve to give them a good show. The Prodigy always give 100% and
particularly great. I’ve worked with System Tech
Sid Rogerson of Wigwam for almost 10 years I think we should too.”
and he knows what I’m after. It’s really easy FOH Engineer, Jon Burton
working with him.”
The freedom of this working relationship
has allowed Burton and Rogerson to spend
time conducting experiments with subwoofers, Meyer Callisto 616 array processor, while It’s a dynamic show and, by the end, we want it
culminating in the stage-spanning act of analogue to digital conversion returns were to feel like you’ve been on a journey.”
rib-rattling supremacy that is the ‘Crenelated completed via Optocore. The band have been endorsed by Sennheiser
Thumpunderous Array’. At the mention of his for a number of years and, partly due to the
creation, Burton was clearly still brimming with BACK TO SCHOOL onstage antics of the band themselves, the
pride. Burton is currently undertaking a Masters crew tend to prioritise reliability above all
He smiled: “It came out of years of work. We degree in electronics at York University with else. Burton specified rolled steel “virtually
are using a broadside array, which is basically the weight of his thesis focussing on the effects indestructible” drum microphones from Hebden
a long line of subs on the floor in front of the of low frequencies on the listening experience, Sound and Radial DI boxes for the rest of the
stage. We use a J-INFRA sub upright every two sub-50Hz to be precise. He said: “I always want band’s instruments, as well as Sennheiser EW
B2’s, making it look a bit like a castle wall - to keep learning. My theory is that, by adding D1-935 vocal microphones and in-ear monitor
which is where the crenelated bit of the name sub-bass, you can give the physical experience transmission systems. These were secured by a
comes from. I’m very proud of it and we’ve of volume while running the system slightly mixture of Ultimate Ears UE 18 and ACS T1 in-
48
PRODUCTION PROFILE: The Prodigy
Below: HSL’s Andy Hurst in the zone during The Prodigy’s set on his High End Systems Hog 4 Full Boar.
49
1 night
27 awar ds
1200 guests
Just as with any profession, there is a time couple of years I did both jobs but it got to a new production and stage design. According
when musicians are expected to retire stage where I had to make a choice between to Abriol, this meant bringing in a lot of fresh
from the spotlight, or at the very least, the two because it was far too tiring. I decided faces to the production team in all the sectors,
turn down the scale of their performances. to take on the role of Production Manager as as well new suppliers. The Production Manager
Johnny Hallyday did not get the memo, as Johnny’s shows were increasing in both quantity went on to state that although the scale of this
the 72-year-old treated his Parisian fans to and quality.” He stated that working for Hallyday production represented a significant challenge,
a no-holds-barred performance and truly was an incredibly rewarding experience, as his the whole crew had done everything with a
spectacular stage show. From the moment show represents the pinnacle of touring for smile on their faces. “It’s a small industry in
that the ‘French Elvis’ appeared from a French artist. Abriol stated: “He is kind of a a small country and this tour is arguably the
behind the back of a giant skull, his 2.5 French legend and he really is the only artist biggest challenge for people in the sector. But
hour performance was a non-stop barrage to do this kind of amazing and extravagant the whole crew in this tour have become a
of hits from his back catalogue, aided by a production. I would say there are only three very close family even though many of them
large backing band of guitarists, drummers, artists in France that could put on a production have not worked together before. It’s a great
brass instruments, four backing singers and of this magnitude. What is more impressive with atmosphere.”
even a harmonica player thrown in for good this guy is that, after all these years, he is still
measure. able to attract such a diverse audience and is still MONTRER LA CONCEPTION
able to give such a top notch performance.” One of the many fresh faces on the Rester
A LA TÊTE DE LA PRODUCTION 2015 was a busy year for Hallyday. Firstly, Vivant tour was LD, Dimitri Vassiliu. This is the
If there was anyone to give us a crash course the singer played several festival dates, first time that Vassiliu had worked with Johnny
in all things Johnny Hallyday, it is Production which he has not done for 20 years, and the Hallyday and had been asked on board to bring
Manger Roger Abriol, who has worked for the performances received great critical praise from a new creative perspective to the singer’s show.
singer in various capacities since 1974. “For 20 the national media. Following on from festival Abriol stated that Vassiliu’s huge experience,
years I was the FOH Engineer for Johnny and season, the crew prepped for the Rester Vivant fertile imagination and talent for lateral thinking
then I became his Production Manager. For a (Staying Alive) tour, which involved a whole (with a history of creating vibrant and powerful
52
PRODUCTION PROFILE: Johnny Hallyday
Opposite: The 72-year-old rock ‘n’ roll legend played three nights at the AccorHotels Arena with his gigantic stage show. Below: During the show, the production team made use of many visual
elements including six flown LED screens and over 460 lighting fixtures; Marie Pierre Bussac, Production Assistant, stands with Production Manager Roger Abriol, who has worked for Hallyday in
various capacities for over 40 years.
‘big rock shows’) secured him the job. Speaking video and automation. throughout the initial design period,” explained
about his initial concept for the show, Vassiliu Once commissioned for the tour, Vassiliu set Vassilliu. Abriol added to this, stating that the
said: “I wanted to create a real vintage look. about forming a creative team that included close working relationship really benefitted the
Johnny is a timeless artist so the show had to Stage Designer Emma Favre and Artistic show, which despite containing several visual
enable the audience to lose themselves in all Coordinator Peggy Moulaire; both of which elements and over 460 fixtures is a cohesive
the various time periods.” He also commented got to add their own ideas to the multi-layered design with both lighting and video working
how he really appreciates the generous amount visual equation. “For this whole project, all the together seamlessly.
of creative freedom he had been given by the people working on the show including Peggy, Supplying lighting fixtures and desks for the
artist, which allowed him to experiment and Emma and my FOH team Philippe Marty and tour was European lighting supplier, Dushow.
produce some very dynamic results for lighting, Stephane Chiron have all worked very closely Singing its praises, Vassiliu commented how
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53
PRODUCTION PROFILE: Johnny Hallyday
Below: The team behind the lighting (from left to right) Philippe Marty, Stephane Chiron and Lighting and Show Designer Demitri Vassiliu; The LED screens were provided by Skynight and made
to the specific requirements by Artixum; The complete audio team, (left to right) PA Tech Steve Hernandez, Monitor Engineer Vincent Mantz, System Engineer Matthieu Marionneau, FOH Mike
Keating, Radio Tech Ronan Cassar, Monitor Assistant Daniel Matthews, Monitor Engineer Julien Vouillon and PA Tech Thomas Barbarat; Head of Automation, WIcreations’ Chris Das coordinated all
automation with the Kinesys K2 software running on a WI optimised control desk with the aid of his assistant Rick Peeters.
the company was incredible attuned to his pods upstage accommodated a total of 192 VIDÉO ET DE L’AUTOMATISATION
need as an LD. “They are always suggesting Magic Panels and were automated by 10 If 17 musicians were not enough moving parts
new products to me to use on projects I am motion controlled chain hoists that moved up to worry about, the design team decided to add
working on. Dushow’s Technical Director, and down constantly. This created a variety of several automated staging elements to the set.
Didier Dast, was dedicated to this tour and looks throughout the show. The design for the This ranged from the giant skull that descended
was incredibly helpful during the design period tour also featured 36 Robe BMFL Spot moving from the rafters to reveal to the French singer
and during rehearsals for the tour.” For the live lights on the rig but, for the AccorHotels Arena at the start of the night, to the six movable LED
show Vassiliu commissioned the help of fellow performances, an additional 20 were added screens that transformed the stage aesthetic
Lighting Programmers Philippe Marty and to help light the audience. Some of the BMFLs throughout the performance.
Stephane Chiron. were positioned on the front and over-audience One of the first people that Vassiliu brought
“I have worked with both of them for a very trusses for crowd lights and to illuminate the on board to join his creative team was Artistic
long time,” stated Vassiliu. “During the show B-stage that was positioned in the centre of the Coordinator Peggy Moulaire from 5 Fevrier, who
Philippe controls the 192 Ayrton Magic Panels arena, which Johnny and the band made use of created the visual elements that were played
on the back wall as well as Clay Paky Mythos’ throughout the show. on the LED screens on stage. Moulaire was also
and A.leda B-EYE K20’s. Stephane pilots all the There was also a ring of BMFLs around on the road with the tour acting as the official
ground and band lighting as well as the Martin the deck of the main stage where they were photographer. “I got a call from Roger back in
Professional Atomic 3000’s.” mounted on different level plinths and used November last year to talk about the project,”
This left Vissiliu to control all the video for aerial effects and skimming low across the stated Moulaire.
elements of the show on the various LED audience. This had the effect of incorporating “In the beginning I was left to come up with
panels. For control, Marty used an MA Lighting the audience during the show and was a the initial concept, then later on a company
grandMA2 whereas both Chiron and Vassiliu special request from Hallyday - who really called Cut Back, who specialise more on
used High End Systems Hog 4’s. Chiron said of likes to see his audience when he performs. developing 3D effects, were brought in to help
the show: “Dimitri has worked with both of us Vassiliu had never used the BMFL Spots until complete the project.”
for a very long time and it is very easy to work 2015, having trialled them during their various She went on to explain her initial inspiration
with him. We don’t need to talk much during festival appearances. Also present were 24 Clay for the designs: “I was told at the beginning of
the show, as we all know what each other Paky Sharpys and eight Sharpy Wash 330’s, 20 the project that Johnny was a very instinctive
should be doing.” Martin Professional MAC Aura XBs. Vassiliu also man who always spoke his mind. I tried to
One of the most impressive looks made use of 26 Showtec Sunstrip Active DMXs mirror these aspects of his personality by using
throughout the show was produced by the and Robert Juliat Lancelot 4000w HTI follow a lot of natural elements such as wind, water
back wall of Ayrton Magic Panels. Five lighting spots. and fire. For example, in his song Requiem Pour
54
9-12 Feb.
ISE 2016
RAI Amsterdam
Hall 7 Booth 230
Fly it straight
www.k-array.com
ONES ^
^
INDIVIDUAL PIXEL CONTROL
INTERNAL MACRO EFFECTS
Un Fou he sings about love so I used the fire to operating the automation using Kinesys K2 wide by 3.5 metres high and 8.4 metres wide
reflect the content of the track. Generally how I software running on a WI optimised control by four metres high, respectively. All are slightly
work is to come up with a simple idea and then desk with the aid of his WI Motion Assistant, tapered at the offstage edges, maintaining
adapt it into something bigger.” Rick Peeters. The giant scenic skull - which truly the finesse and clean lines of the stage design.
Vassiliu commented: “I have been familiar became the icon of the tour - was flown in from Each screen was moved by four one-tonne, zero
with Peggy’s work for a long time. She has the the roof and also tracks up and downstage speed chain hoists (500kg double-reeved) from
ability to adapt her work into many styles and on 18 metres of WI Touring Track, which was which some of the positions entail the lower
is able to design images that work really well attached to four half-tonne, zero speed chain screens moving right down onto the stage just
with the content of the songs.” During the hoists. behind the backline. It’s just one of a number
show, content for the screens was controlled by The six LED video screens - all of which were of careful moves for which the accuracy and
Vassiliu who made use of a Pro Systems Catalyst different sizes - were flown and tracked using stability of the K2 is needed along with the
media server running playback video to the six another 108 metres of WI Touring Track to glide ever-important WI operator skills.
moving screens and a digital proscenium arch them seamlessly into over 20 different looks and The rest of the rigging for the tour was
that surrounds the stage. positions, from a flat horizontal roof. supplied by Stacco, which also was the supplier
Engineering and automation specialist Throughout the show the screens were used for the rolling stage. Head Rigger Georges Abele
WIcreations supplied multiple automation highly effectively as a big block light source explained that there was 50 tonnes hanging
elements and control solutions to the massive to a large dramatically-angled single surface from the roof and that it was all done with wide
show. Abriol has worked with WIcreations backdrop, which then fragments in different bridals rather than straight hands. Abele added
many times. He said: “They are one of my directions to several different shapes. The that: “AudioRent and Clair Brothers helped
go-to companies for automation due to their screens were made from a new lightweight us enormously with the rigging of the sound
creative engineering and ‘out-of-the-box’ 6mm proprietary LED product provided by the systems.”
thinking.” Koen Peeters, Production Manager at tour’s video contractor Skynight. Abriol talked
WIcreations commented: “Johnny is an amazing about the production of the screens stating: “To DERRIÈRE LE SON
performer and the Rester Vivant tour is a very reach all the specific requirements in this project Ove the course of the evening, Hallyday drew
energetic rock ‘n’ roll show that embraces we had to ask a company called Artixum to on songs from his vast back catalogue, and
dramatic scenography and cutting-edge customise a new system based on their Xenon this mixture of old and new did not stop at
technology. This touring production perfectly series. As well as providing a great quality the set list. The trend was also seen in audio
showcases what WIcreations is capable of!” image, the screens are incredibly light.” control, with a traditional analogue desk at FOH
Out on the road representing WIcreations The three pairs of screens measured at 7.4 controlling one of the newest PA systems on the
was Chris Das who was coordinating and metres wide by 2.9 metres high, 7.9 metres market.
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56
PRODUCTION PROFILE: Johnny Hallyday
57
PRODUCTION PROFILE: Johnny Hallyday
Below: Despite his age, Hallyday shows no signs in slowing down and, according to his production team, is always thinking ahead to his next performance. He is set the hit the road again early this
year.
usually able to accommodate our requests for frequencies, which they organised into groups Cetera. Formed in 1989, the company prides
the Yamaha PM 5000. Plus the equipment from of six. “We put each of these six frequencies itself on serving traditional gourmet French
Clair always works!” into one TV channel which we plug into the cuisine. Offering a buffet that would not be
Juxtaposed to FOH, monitor world is passive filters.” At this stage, all six groups of out of place a five star restaurant, Egg Cetera’s
completely digitised running two DiGiCo SD7’s. frequencies are then combined into a signal services were certainly a hit with the crew.
Standing in the trenches on stage left, TPi spoke antenna. “It’s amazing. All groups have no
to the two Monitor Engineers Julien Vouillon internal modulation. These passive filters are LA LÉGENDE CONTINUE
and Vincent Mantz. Vouillon started off by insane. This is kind of ‘military’ equipment; the Regardless of a 2015 that would put performers
stating: “For this show there are 17 people on signal is so clean.” half his age to shame, Johnny Hallyday and
stage. I control five mixes that include Hallyday his crew are already prepared to hit the road
himself and the Musical Director Yarol Poupaud, LOGISTIQUE ET DE LA RESTAURATION once again with rumours of another run of
while Vincent controls the remaining 12 mixes There are very few productions within France festivals planned for summer 2016. Speaking
on stage.” Everyone on stage used IEM that that can match the level of a Johnny Hallyday about the star’s mindset for future tours, Abriol
came courtesy of French supplier Ear Sonics, tour or require a crew of this size. “Altogether commented: “He doesn’t want it to end. He
although Mantz commented how Poupaud likes we have a 51 members of crew, not including never talks about the last show, but he always
to use both in-ears and a wedge mix. “Yarol locally based riggers,” stated Abriol. “For talks about the next show.” Although ‘The King’
likes to use both and also requested two side trucking we have used French company, Artys. may be gone, it seems that the ‘French Elvis’ is
feeds. This is to keep some sound on stage to Due to the size of the tour, which required 20 planning to entertain crowds from many more
maintain the vibes of the show throughout the trucks, Artys had to sub contract extra coaches years to come.
performance.” from Transam and Stacco. For busses the TPi
The two monitors engineers’ experience production employed the services of Blackline
with DiGiCo SD7 varied slightly with Vouillon Star. The company had been involved with the Photo: Peggy Moulaire
being a long-term user of the desk whereas this tour since July for the European festival season. www.johnnyhallyday.com
tour was Mantz’s first time on the console. CEO of Blackline Star, Séverine Berthelet, talked http://audiorentclair.com
He said: “You can have a lot of channels about the company’s experience with the tour: http://clairglobal.com
which is ideal for us. We are using an Optocore “Since October we’ve had four nightliners on www.earsonics.com/en
Loop between the two desks and we have three the tour, three for technical teams and one for www.rftransmission.be/en
SD racks so we can change the inputs.” to the production team, carrying more than 70 www.dushow.com
Adding to this, Vouillion talked TPi through people. This tour has allowed us to expand our www.skynight.com
the wireless system: “For all our wireless fleet to seven vehicles as we specifically develop www.artixium.com
equipment we employed the services of the a single deck nightliner, which was used for www.stacco.com
Belgium-based company RF Transmission. What the production team. I am very thankful to the www.wicreations.com
they have provided for this tour is two passive production team for trusting us.” www.blacklinestar.com
cavity filters for transmission.” Altogether the Keeping the crew fed and hydrated www.artys.net
monitor engineers worked with a total of 36 throughout the tour was French caterers Egg www.eggcetera.fr
58
PRODUCTION PROFILE: Disclosure
Made up of brothers Guy and Howard of candles and a trusty coffee machine, it Manager and the band’s PA all rolled into one!
Lawrence, Disclosure have had an incredibly offered a welcome reprieve from the December Gadd was originally brought in to work as stage
successful year. From co-organising their UK temperatures. “It’s kind of strange, this band’s manager, but soon got a call from Iddison to
Festival Awards-winning Wild Life Festival success seems to have been a global event. stand in for production manager duties. “I had
to a headline show in New York’s Madison With most acts you usually find they build up never worked for Disclosure before but I had
Square Garden, the UK house producers a reputation in various corners of the globe, worked on the same tour as Toby while I was
have certainly made a name for themselves, but with Disclosure the popularity has been an stage managing Example and Toby was working
just two years after the release of debut upward trend everywhere.” for his support band,” stated Gadd.
album, Settle. Off the back of their North Although technically working under the “He’s come a long way in the last three years.
America tour the pair scheduled several job title of Tour Manager, Iddison has had to He’s a great guy to work with and this band are
dates in the UK, which culminated in three wear multiple hats through 2015. Production lovely.” He went on to say that once Murphy is
nights at Alexandra Palace. Although only Manager Phil Murphy was sadly taken ill on back on his feet he plans to return to his stage
originally planning to play two nights, the North American run and returned home. manager role.
demand forced the band to play a third Thankfully, Murphy is apparently making a Iddison spoke of his work ethic when it came
show. recovery and even managed to pop along to to running a production of this size; the real
Despite their outstanding success, it’s good Disclosure’s Manchester show. secret is to cut down all hierarchy. “I don’t like to
to see that the band have kept many of the Murphy’s sudden absence from the tour think of this production as having a hierarchy; I
class of 2013 in the ranks of their production. meant that Iddison had to play the role of want people to feel like they can just walk into
Starting the role-call is long-term Disclosure Production and Tour Manager for the rest of the office regardless of their station. There is no
crewmember, Toby Iddison. “I have been the US leg, while temporary replacement for need to be scared of anybody and we’re all here
working with the band since 2013 and I have Murphy, Chris Gadd, got to grips with the show. for each other and it’s our responsibility to get
had the joy of getting to see the guys go from Juggling multiple jobs is nothing new to this gig up and running.”
strength to strength,” stated Iddison as he sat in Iddison, who in the early days of his Disclosure Tour Assistant Sooze Moyes backed this
the homely production office. With a selection career used to be the Production Manager, Tour statement: “The family vibe on this production
60
PRODUCTION PROFILE: Disclosure
Opposite: Disclosure on their second night at Alexandra Palace. Below: The show design was created by Will Potts and video content was pre designed by artist Kate Moross; Tour Manager Toby
Iddison standing with Gregory Porter, one of the many featured vocalists on the current Caracal album; Production Manager Chris Gadd who was originally meant to fill in the role of stage
manager.
is what makes it great. Being away from home 250 fixtures, automation and lots of video so additional tracks.
for so long, it’s good to have the consistency of it was great to work with guys who both had Potts went on to state that, in the world of
people that you know and get along. This makes arena experience. dance music there is a required standard that
it much more comfortable.” The Scottish LD did admit to being rather leaves little room for error.
excited about driving such an impressive rig. The design stage began before festival
STEPPING UP “Back in the early days I used to busk the whole season. Potts explained: “We did two festivals
Since Disclosure started their touring career, show, triggering everything myself manually. in the summer, Park Life and Wild Life. We did
Will Potts of Will Potts Lighting Production It was an intense task! But this year I decided those two shows with the idea of premiering
Design has been at the helm of their lighting it was time to step it up a notch and produce the new look for the up and coming tour.”
and show design. Having been with the band a really impressive visual show.” Just as for Disclosure had taken a bit of time from the
since their first show in March 2013 he has seen Disclosure’s North American tour, lighting, video stage while writing their new album. “As this
them move up from 200 capacity venues to the and rigging was supplied by PRG XL Video. was the first time Disclosure had played live for
10,000 plus capacity venues such as Alexandra One way in which Potts stepped up the a good while, not to mention that Wild Life was
Palace. production involved updating his lighting desk their own festival and being documented, there
This particular production saw Potts to an MA Lighting grandMA2. “I first used a was a real pressure to produce a tight show and
collaborating with James Scott and Louis Oliver grandMA2 on Sam Smith’s show design. That leave a great impression from the start of the
of Okulus as well as Kate Moross who was in project really got me into the way of working campaign. The rig we have now is almost the
charge of producing video content for the show. with the console. Making use of its timecode same as the one we took out on the festival run.
With several people involved in the creation of functionality means we are not restricted when The main difference is that we used to have a lot
this large stage show, Potts explained that there developing looks for the show and I can take of automation behind the screen, and we have
was a need for a central point to channel all the time to actually view the looks, rather than mobilised more of the pieces out front for the
aspects of the design. performing them out on the road where much structural looks.”
“You could say I took on the role of Creative of the adaption and finesse is achieved. There Automation for the show comprised of a riser
Director. It was really good to have James are rhythms in the cues that I wouldn’t be able that lifts both the artists and backing singers
and Louis on board. They were able to carry to trigger myself without timecode and it has to the various movable trusses the staging was
on programming the show while I went to certainty made the show a lot more consistent continuingly being manipulated to produce new
meetings and also provided a great collaboration for the guys onstage.” The festival shows were looks. Cyber Hoist Programmer Robert Gardener
point on the design. This show has the largest programmed by Scott and updated by Potts spoke about several of the moving parts within
amount of production I’ve ever controlled with for the adapted arena design which included the show. “When I came into the project Will
61
PRODUCTION PROFILE: Disclosure
Below: Cyber Hoist Programmer Robert Gardener; LD and Show Designer Will Potts with his MA Lighting grandMA2; Video Programmer, Icarus Wilson-Write sitting with his d3 Technologies media
server; Head Rigger Simon Lawrence.
already had all the designs and looks for each Sharpy Wash 330’s as well as 22 molefay 4-Cell there’s no complaints; it’s doing a great job.”
aspect of the show on paper. My first job was to Linears, 22 Ayrton Magic Blade-R’s and four Wilson-Write added that: “The Vanish has
simply provide everything that he needed.” Philips Colour Kinetic Colour Blasts. been able to integrate perfectly with the lighting
He continued: “With the hoist system we’ve show. It’s very lightweight, very fast to rig and
basically got five trusses that move with two NEW TOYS it seems to be very reliable too, not to mention
hoists for each of them.” On each of these five As well a sizeable lighting rig, Disclosure’s the fact that it displays a great image.” For
trusses, Potts used four Clay Paky Mythos’ and show contained several video elements. Video the show, PRG XL Video also supplied MC-18T
seven Philips Showline Nitro 510c’s. Talking Programmer, Icarus Wilson-Write talked us screens which were placed as a return below the
about the Mythos Potts said: “The fixture is through the system: “We’ve got six video two musicians’ desks, two sets of Pixled F-25s
really one of the workhorses of the design. It’s destinations; four on stage that are elements placed either side of the stage and a strip of
great for this show because it’s so malleable and the two side screens. The video destinations MC-7 as high resolution automated piece in the
with multiple functions, which is exactly what are sent through a d3 Technologies 4x4 flying ‘venetian’ screen.
you need for an electronic music show like this.” Pro media server, which is sequenced and
As with most dance acts, strobes play an controlled, at least in some part, from the STAR SERVICE
important role within this show. With a total lighting desk. Video content is pre-layered and Keeping all these various visual elements up in
of 53 Martin Profesional Atomic 3000’s being pre-organised then we take in some camera the air was the responsibility of Head Rigger
deployed throughout the rig. Potts explained: feeds and lay them over the top.” Simon Lawrence and once again PRG acted as
“There isn’t a strobe out there that does the Wilson-Write was brought on board to the a suppler. “Due to the size of this show we had
job of the Martin Atomic. There are lots of LED project once Potts and Moross had already to split the rigging into two sections,” stated
alternatives that are technically more reliable created the majority of the content for the Lawrence. “The guys in charge of automation
and energy efficient. We have made use of show. He reported: “I went and sat down with are totally self-contained then on the lighting
the Philips Nitro on the automated trusses as a Kate and Will to pull the show together, they side we have quite a big job hanging all these
bar of high power LED. However, for our main were great to work with as they are both very fixtures on a daily basis.” Lawrence was only
strobe solution we wanted a fixture that was creative and incredibly competent.” brought onto the tour a month before the
truly electrifying. That made the Martin Atomic While creating the design for this tour, Potts Alexandra Palace show and was another
a clear choice in our eyes.” explained how they had centred a lot of there member of crew who had worked under Iddison
Potts also gave a special mention to the design around the brand new Vanish 25mm with singer / songwriter Ben Howard.
32 PRG Best Boy HPs. “These lamps are great; which is produced by ROE Visuals and has a He admitted that this show had been a
they have a really powerful and even spread of transparency of 51%. “We tested the screen fair challenge due to the fact that it was a
output, and their focal length makes them great while it was still in beta, and chose many other very heavy rig but that it is always part of
for firing through the screen which is mostly products as result of this, however for the the challenge of the job. For staging, the
why we chose them.” he stated. Also seen on festival run we weren’t able to get hold of the production team employed the services of Star
the rig were 24 Clay Paky Sharpys and four product as expected. But we’ve got it now, Events who provided 65ft by 12ft of VerTech
62
Proud to Support
Disclosure
With Video & Lighting Technology For Their Arena Tour
Caracal
Below: One of the goals for this tour was to ensure both members of Disclosure were at the forefront. One element of this was to build custom workbenches for both members - a task undertaken by
Brilliant Stages; Alex Turner from Gravity Systems was in charge of the band’s backline.
Ground support and integrated 60ft by 40ft of synthesisers, drum pads along with a whole sound down to the digital signals [soft synths
stage and tech risers for the Alexandra Palace other array of other pieces of hardware. Brilliant and samples] staying digital all the way to
dates, overseen by Joe Sheals. Star Events had Stages was responsible for creating the circular the PA’s speaker cables. The look is achieved
been involved with the band before, during desks themselves before festival season got by using data satellite boxes,” explained
the summer for Disclosure’s Wild Life festival. underway. “We’ve always avoided having Turner. “The sleekness of the desks follow
Sheals commented: “We were brought in both musicians sitting behind loads of gear or through into the backline, and anything that
specifically to provide a structural solution for hidden behind a big console,” explained Potts. can be off stage, is. To enable this, a multitude
the Alexandra Palace dates. The production “The tables are specifically designed so you can of line drivers are used. Well out of sight and
exceeded the winter load capacity of the venue see both members from head to foot from all niched into each of the risers, are the backline
roof, so we designed a stage to fit their rider audience angles breaking the barrier between satellite boxes, one allowing both of the
but with integrated a VerTech ground support the crowd and the band.” musicians his own connectivity to the off stage
to accommodate around 8,000kg of video and The two desks also boast an impressive racks. These low profile hubs allow for 100%
lighting. level of audio engineering thanks to the work reliable two-way long distance transmission of
“The ground support masts were assembled of Alex Turner from Gravity who has created all the USB and MIDI control data, audio and HD
and pre-rigged from the venue roof, with the a whole new ‘Music Performance System’ for video that is needed to keep the show going.”
stage and truss grid built beneath. The masts the band. Since 2014 Disclosure had wanted Both of the brothers have a rack, each of
were then lowered through the truss, released to go back to the drawing board and design which is equipped with an RME MADIface XT.
from the roof rigging and the whole structure the ultimate playback and performance system All of the group’s instruments and drum pads
self-climbed as normal.” for their particular style of electronic music. “I are plugged into a Midas XL48 microphone pre
was brought on in April to design and build unit, which is capable of splitting the signal into
BACKLINE BRILLIANCE their new rig with a brief to make it all digital.” two identical ADAT outputs. These outputs are
From the outset, Potts explained that one of the Turner, along with his business partner Matt then fed into two Ferrofish A16 Mk-IIs, which
goals was to make sure that the band remained Cox, has worked with distinguished dance in turn feed into the A and B computers via the
at the centre of the show. As well as having pioneers The Chemical Brothers, Hot Chip RME MADIface XT’s. “This playback rig is very
the two performers appear on the two side and The Prodigy - so in many ways they’re an cutting edge,” Turner stated. “It’s got every
screens, the team also designed the two desks obvious choice for Disclosure to help reinvent functionality that any tech would dream of in
which the brothers stood behind through out their live set up. a playback and performance system. The band
the show and held the bands various supplies “It’s all singing all dancing, with sweet wanted everything at their fingertips as if they
64
PRODUCTION PROFILE: Disclosure
Below: FOH Engineer Rob Webster-Reed and Monitor Engineer Barrie Pitt both favour DiGiCo SD7 consoles, which were supplied by Nitelites.
Powered by
65
PRODUCTION PROFILE: Disclosure
Below: With such a successful 2015 behind them, Disclosure are kicking off the new year with an Australian tour.
Eighth Day Sound were brought in for racks and adaptability. Webster-Reed explained: “In It does seem that Disclosure have tapped on
and stacks worldwide. It’s quite a unique setup pre-production we set up the guest channels in a formula that attracts a broad range of people.
when there’s two companies doing it but I have an attempt to anticipate who’ll come. I’ve got Gadd explained: “To me, the music certainly
a great relationship with Toby, the TM, and Phil eight channels dedicated to potential vocalists falls into the house genre but at the same time
Murphy, who is the regular PM.” for whoever turns up on the day. It’s then just a it’s not your ‘normal’ house music. They keep
The venue itself provided something of a question of getting them sound checked before their sets varied and there is not one boring
challenge for the audio team, who used the they’re live and making sure it sits nice within song! There aren’t many bands out there like
d&b array to combat the acoustic ‘slap back’ the mix. A live vocalist is always a challenge this.”
inherent in larger venues - a problem especially but I think I’m getting there. The UAD Apollo With such positive feedback from their 2015
prevalent when dealing with dance music. software is helping to no end, it’s quite clever.” dates, Disclosure are planning to continue their
Webster-Reed said: “Alexandra Palace is quest for global domination - starting in 2016
challenging - it’s a big room. You have to fly the THE HITS KEEP ON COMING with an Australian tour. This in particular is a
PA quite wide here, which a lot of engineers For logistics, the tour required six trucks, all prospect that the crew seemed excited about -
don’t like, but it’s the same for everybody of which were supplied by Fly By Nite. Gadd any excuse to avoid the wonderful UK winter!
so you just have to get on with it. Using the commented how he rarely uses any other TPi
J-Series enables us to give a lot of hi-fi clarity trucking companies: “Their support is fantastic,
and create a sort of big club sound in an even not to mention the drivers, who are all really Photos: Sarah Rushton-Read
bigger space, which is a challenge in itself good. I wouldn’t use anyone else. It’s the www.disclosureofficial.com
really.” same with most things. Once you get on with www.xlvideo.com/uk
Although Disclosure is only made up of two someone and you like the way they work, www.lightingproductiondesign.com
permanent members, they made use of 10 why change?” For coaches on the UK tour, www.nitelites.co.uk, www.skanpa.co.uk
channels of live percussion, four channels of Disclosure used a mixture of Beat The Street www.8thdaysound.com, www.flybynite.co.uk
electric pads, two vocal channels, bass, guitar and Phoenix Bussing - though the three nights www.phoenix-bussing.co.uk
and various electronic synth instruments. at Alexandra Palace saw the entire production www.popcorncatering.com
The team also had a number of guest opting to use hotels instead. The Disclosure www.brilliantstages.com
vocalists to consider during the evening, and camp was kept well-nourished by Popcorn www.stareventsltd.com
this required a combination of preparation catering. www.beatthestreet.net
66
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JOHN HENRY’S
SINCE THE COMPANY’S INCEPTION, JOHN HENRY’S HAS BECOME ONE OF THE LEADING MULTI-DISCIPLINARY
SERVICES IN THE UK’S LIVE MUSIC INDUSTRY. AS THE BACKLINE SPECIALIST PREPARES TO CELEBRATE ITS
40TH YEAR IN BUSINESS, TPi’S STEW HUME VISITS THE HISTORICAL BREWERY ROAD SITE TO GAIN INSIGHT
INTO THIS FAMILY-OWNED, EXPERTLY RUN BUSINESS.
Starting out in 1976, producing a unique historical notoriety, having been used as a in London, he said: “While I was there, they
portable staging system, John Henry was munitions factory during the war. Trading had a carpenter who made wooden flats and
unknowingly building the foundations for ammunition for amplifiers, the 60,000 sq stage sets but, of course, they would always
what would become one of the longest- ft facility has since become a mecca for fall apart! I offered my services to create a new
standing brands in the pro audio and touring musicians. You only have to go to the collapsible metal frame with plywood tops.”
staging industry. An impressive 40 years company’s cafeteria to get an idea of just some What John had essentially created was a
down the line, the company today offers of the famous faces that have come through unique portable stage riser, the likes of which
a range of services from rehearsal studios, the doors; the company has more signed the industry had never seen before. He pointed
backline rental, audio hire, and staging photographs on the walls than a Hard Rock out this moment as the beginning of John
solutions, not to mention its Pro Shop Cafe. Henry’s as we know today. During his time
where it supplies everything from MI to at the company, he achieved far more than
guitar stings and drumheads for some of MAKING HISTORY an interest in portable staging: “TASCO were
the world’s most diverse and respected John moved to London in 1972 from Stranraer, lacking a mains distributions system. I was
musicians. a small town in South West Scotland. once employed as an electrician and was able
Although expanding its services at a steady Developing a passion for music in his teenage to build a proper travelling mains system,” said
rate, founder and owner John has remained years, he eventually packed his bags and moved John. “I spent around two years making mains
very involved throughout all stages, and is still to the capital to put his aspirations of becoming systems and in between was hiring out the
present on site, daily, alongside his two sons, a professional bass player into motion. While staging that I had created.”
Johnny and Jamie. Plus their extended company pursuing his musical career, he began to work From this point on, with the help of his
family of 50 employees and 30 freelancers. for TASCO (the largest PA company in its day). wife Pauline, John continued to expand what
The John Henry’s facility itself is one of Sat in his office talking about his early years the business could offer. “It was a case of
68
IN PROFILE: John Henry’s
Opposite: John Henry (centre) standing with his two sons Jamie and Johnny. Below: John Henry’s extensive backline store supplies everything from drum-heads to amps with a whole team of in-
house technicians who keep all the equipment in great condition; Across the road from the main building are two other wear houses which house the staging departments and the audio department.
supply and demand. Bands were coming in to building are two warehouses that house the huge titles such as Latitude Festival, V Festival,
use my warehouse as a rehearsal space and audio and staging departments. The company’s Reading & Leeds and Proms in the Park.
they needed somewhere to store their gear. audio services provide a range of live sound One thing that is hard to ignore while
So I’d build several storage cages next to the reinforcement, speaker systems, monitor walking through John Henry’s is the amount
studio for bands to have a safe place for their systems and wireless IEMs and mics along of products under its roof. This is most
equipment. I also had a fair bit of backline of with several audio consoles from Avid, Midas, prevalent in the backline warehouse. When
my own from being in various bands. One thing Soundcraft, Yamaha and DiGiCo in the fleet. TPi walked through row upon row of backline,
led to another and I started hiring out my own Recently, the company has supplied audio Johnny noted: “We had some visitors over
gear as well as buying more. Before I knew it, solutions for notable events such as BBC2’s from the US and when they walked into our
I was hiring out staging, offering storage and late night flagship music programme, Later... warehouse they made a point that our facility
supplying backline at the same time! I also with Jools Holland, for which it provides is much bigger than anything they have seen
realised that musicians often needed something audio production planning, the floor package, in North America.” Stocking everything from
to be repaired, so I started an electronic sound engineers, monitor systems, staging amplification, guitars and basses, drums,
workshop and employed an electronics elements, backline equipment and mains cymbals, percussion, keyboards, grand pianos,
engineer to take care of any broken parts.” distro since the first show aired in 1992. It also music stands, organs, synths and transformers.
In 1999, the JHL Group of Companies, which offers its services to one-off events such as the Recently the company has provided complete
included John Henry Enterprises, JHE Audio and premiere of Ed Sheeran’s recent film Jumpers backline packages - including equipment,
JHE Overseas, consolidated into the central John for Goalposts at the Odeon Leicester Square. technicians and tour accessories - for The BRIT
Henry’s that we know today. John Henry’s supplied audio equipment for the Awards, C2C Festival, Capital Summertime
live performances both inside and outside of the Ball, V Festival, Reading and Leeds Festival (all
KEY SERVICES cinema for client Warner Music. stages), and the London Jazz Festival. It also
The large staff base includes Johnny Henry The John Henry’s staging department provided touring backline packages for Grace
as manager of the company and his younger offers a range of products including staging Jones, Lynyrd Skynyrd, Sir Tom Jones and
brother, Jamie Henry, running the Pro Shop rental, rolling risers, skid decks, steps and Marilyn Manson.
and endorsement programmes. The company’s rails, stage dressing, flooring and even mobile Finally, the purpose-built studios, which
four key services can be split into four primary dance mirrors! It also offers set design and come set-up with digital consoles, monitor
sections: audio solutions, staging, backline staging technicians. This summer, the staging systems and basic microphone packages, are
rental and rehearsal space. department was heavily involved with the UK available for rehearsal space hire. Dedicated and
Situated across the road from the main festival season, offering staging solutions to qualified audio professionals are on hand too.
69
IN PROFILE: John Henry’s
Below: The audio warehouse and its huge stock on equipment all in the signature John Henry’s flight cases; One of several studios at John Henry’s, Studio 5, which has seen some of the biggest acts
in the world come over to jam.
Also onsite are secure storage cages as well its current location on Brewery Road. Situated Westwood, Gary Felton, Patrick Louis and all
as a showroom. Residents include the Fender, one stop away from Kings Cross train station, our staff. No matter what gets thrown at us we
Blackstar Amplification and ACS. In the last few the company is more passionate than ever to all pull together and work as a team.”
months there has been visits from The Rolling maintain its London postcode. John continued: Johnny went on to state that a genuine
Stones, One Direction, Pixie Lott and Jamie “It’s the heart of the business really. We are in a passion for the job was always a big factor
Woon. Business is certainly booming. very handy position and have the luxury of a fair when taking new people on. “It’s a really nice
Johnny explained how the diversity of artists amount of space. A lot of our work is London- place to work. It’s one big family and I think it’s
creates a really good atmosphere. “Last summer based and as a result, the business seems to be rare for a company to have as little hierarchy
we had The Rolling Stones in one room and One growing on a daily basis. We still have plenty of as we do. You hear of companies where there
Direction in the other. It was a real mixture of room for expansion however, and this year we is not a lot of interaction between the top and
genres but the vibe was fantastic. When all the have taken on another two top rental reps.” bottom tier, but my father’s door is always
studios are fully booked and all the walls are John explained what he looks for when open.”
shaking, it’s an awesome place to work!” taking on new employee. “Everyone has This year marks the 40th anniversary for the
The studios are also often used by pro audio been hand-picked by me. I am always looking company. A notable anniversary by any means,
companies to showcase products. Recently, HD for good, solid people who display good but for John Henry’s it doesn’t signify any kind
Pro Audio and SoundCraft set up shop for the knowledge that can then be backed up by a of leisurely retirement, as John concluded:
day at John Henry’s, because as expected, every good attitude. In terms of staff retention, it is “Because we are so diverse in the services that
key decision-maker in the industry knows where very rare that people want to leave.” we provide, the shopping list is endless. As
the door is. A major part of our success is thanks to technologies continue to develop, so do we.
the dedication and long term loyalty of our Whether it’s the latest keyboard model or the
LONDON’S STILL CALLING management team and staff. most sought-after digital mixing desk, we want
Despite expanding into different areas Johnny expanded: “I’ve learnt alot by to be at the cutting edge of it all.”
throughout the years, one thing that has working my way up through the ranks; it’s all TPi
always been a consistent aspect of the business about sharing knowledge. Our management
is the company’s continued presence in team need a special mention here as they have
central London. In fact, the first John Henry’s helped put us where we are today - Robert Photos: Johnny Henry
warehouse is actually only one street away from Harding, Pepin Clout, Tark Bates, Andrea www.johnhenrys.com
70
MEDIA AND ENTERTAINMENT
FROM CREATION TO CONSUMPTION
LONDON ENTERTAINMENT WEEK – A BRAND NEW SERIES OF
EVENTS ADDRESSING THE MEDIA & ENTERTAINMENT SECTOR
HERE IN THE UK, WITH BVE AT ITS HEART
EXHIBITION / SEMINARS & WORKSHOPS / CO-LOCATED CONFERENCES / AWARDS / NETWORKING & MORE
GABRIEL COUTU-DUMONT,
SILENT PARTNERS
Three time zones in 36 hours. Taylor Swift, Britney at HQ. Claudine, our designer, is already in Baku setting
Spears, 100 dancers, too many extras, some multi- up shop and getting ready for Janicke and David to
media Shakespeare. A broken iPhone, a black eye, arrive. Everyone is racing towards deadline to finish the
a lost credit card and a lucky game of roulette. It’s video and load the equipment. It’s like a Woody Allen
just one of those days for Silent Partners’ Gabriel... heist-gone-wrong movie. The servers don’t fit in the
truck, everything is chaotic. Janicke wipes-out on the
I’m in Vegas now. I rushed here with Isabelle our ramp while also managing the amazing feat of taking
producer and Jocelyn, a great Video FX guy we work her own picture with her phone while it’s happening.
with. After putting to bed the new video scenography (Action shots are on our Tumblr!)
for Taylor Swift’s 1989 tour, the show left, it’s on the Somehow, it’s now 10am in Vegas. We’ve got
road and we’re almost done! I’m in the City of Sin for the goods and we hand it over to Mike Polito from
48 hours to drop off reformatted HD files for Taylor’s Chainsaw who is cutting the final edit for the Billboard
Vegas gig, and to add bits to Britney’s permanent Awards. Jocelyn heads for the airport while I’m back
show Piece Of Me. She’s got a new single with Iggy in the casino. It’s the only place I can smoke in the
Azalea coming out and Baz Halpin, the Creative hotel and it’s been a long, sleepless night. Baz calls me
Director, hired us to take care of the visuals. So, after to say we need to go back and change a few things
two weeks of designing the content, our little skeleton with the FX. To the Batmobile! Isabelle begins phoning
crew, who dragged a full suite of computers with Jocelyn to catch him before he boards his plane. I just
them, will also need to capture a live performance happen to have 500 dollars in chips. I turn around and
from Britney with Iggy and add it into a teleportation lay it all on black while continuing to take notes from
VFX gag for a reveal during the Billboard Awards. Baz. We probably have another three to four hours
Never a dull moment! The show airs in a few hours to re-render the piece before the Billboard Awards
here in Vegas, so we’re cramming in our hotel room. I. goes to air. Black wins. Still preoccupied with Baz, I
Must. Smoke. put my winnings on black again. Blammo. I win again!
I check in with my partners Janicke and David Eventually, Isabelle reaches Jocelyn and we’re back in
back in Montreal who are frantically prepping for the the hotel room, set up and whirring away. The piece
biggest production we’ve ever been in involved in; comes out fantastic. The show airs and we all jump on
we’re producing content for the closing ceremonies of a plane back to Montreal. But not before I realise I’ve
the European Games in Baku, Azerbaijan. We’re used left my credit card at L’atelier de Joël Robuchon where
to rock ‘n’ roll touring shows that look and feel big, but we celebrated our work and my luck, and not before I
in the end, involve only a handful of talented people. slam my face into a television monitor in the lobby as I
In Baku, it’s gargantuan. The production office alone say goodbye to people on the way out.
houses more than 120 people from several countries. As soon as we land in Montreal, me and my black
Led by Five Currents, we’re working on stadium eye are off to a workshop for video scenography for a
content that will involve a gazillion extras performing a five-hour Shakespeare theatre piece. I’ve got 10 days
mass choreography using 504 handheld LED screens. to come up with the base of the show, then it’s off to
It’s ridiculous. We’re pretty sure it’s going to be fine, Baku...
but there is some mild preparation panic going down Gabriel Coutu-Dumont
72
Untitled-2 1 23/11/2015 14:16
IN THE SPOTLIGHT: Focusrite
Combining headphone and line outputs for The unit may be powered either via PoE (Power
flexible monitoring of signals sourced from the over Ethernet) or via the 12V DC input barrel
Dante network, the RedNet AM2 features a connector (universal power supply included). Dual
quarter-inch front-panel headphone socket and etherCON connectors are included to connect the
a pair of balanced line outputs, with male XLR network and to daisy chain to additional network
connectors mounted on the rear panel that can devices.
be used for loudspeaker monitoring. Will Evans, Artist, Media and Brand Partnerships
The headphone output delivers significant at Focusrite, explained the thought process behind
audio output power, sufficient to drive even the new development in the RedNet range: “Since
high-impedance headphones at substantial levels. we launched RedNet we have had a very common
The RedNet AM2, fitted with non-slip feet, is request: lower cost, lower channel count output
designed to either sit securely on a flat surface or devices. The specific use-case cited in almost any
be mounted on top of a microphone stand. workflow is foldback: adding headphones or a
RedNet AM2 includes a two-channel Dante basic speaker output to a system. Up until recently
receiver based around the latest Ultimo hardware it’s been cost-prohibitive to develop low-channel
- allowing up to 24 bit, 96kHz operation - and count devices. Thanks to Audinate’s Ultimo chip,
features a road-worthy aluminium extrusion-based we’re able to make a cost-effective device which
enclosure. Two large volume control knobs are delivers for the customer,” he explained.
provided for headphone and line output levels; the The company has also taken direction from
latter also features a mute button with associated various end users in order to further cater for
LED. Other indicators show the presence of power, their clientele: “We have worked with both
network and signal. touring engineers and system techs, as well as
74
IN THE SPOTLIGHT: Focusrite
rental companies, broadcasters and larger the UK and US, as well as email-based support, for Usher, Horace Ward, who took an early
education facilities. Our customers are the most all free of charge. It allows us to provide greater version of RedNet out on the The UR Experience
important part of our product development. coverage to our customers so, for example, even tour in the spring of 2015.
Their feedback is pivotal in shaping the design of after working hours in the UK, our US support Following a demo earlier that year, Ward
products.” team can still help customers well into the commented: “I was immediately impressed and
RedNet AM2 is planned for shipping in spring night.” decided on the spot to incorporate the RedNet
2016, and Evans said that he is sure the product The first set of products in the series were system for Usher.”
support will encourage new users alongside its extremely popular with engineers working on TPi
key features: “We provide telephone support in high-end arena tours, including FOH Engineer http://uk.focusrite.com
Blackout
FAVOURITE RIGGING COMPANY
+44 (0)20 8687 8400
sales@blackout.co.uk
www.blackout.co.uk
75
MOVERS & SHAKERS
Sponsored by
www.interfacio.com • +44 208 986 5002
Nexo has appointed Merging Select to particular emphasis on promoting and increasing media business.
represent its products in Portugal. Based in the the market share of the company’s many UK- “NTP’s DAD product range has arguably the
capital city of Lisbon, Merging Select handles a exclusive marques. most prestigious client base of any company in
portfolio of blue-chip brands, including Yamaha Shure Europe and US-based RF Venue have the professional audio sector, embracing many
Commercial Audio, Steinberg and Nuage, which entered into an exclusive distribution agreement of the world’s foremost mastering studios, post-
are sister companies to Nexo, as well as AuviTran across the EMEA region. Shure Europe’s regional production facilities, orchestras, music venues
and Powersoft. distribution offices in Germany, the UK and and record labels.”
Founded in 2007, Merging Select serves BeNeLux - alongside Shure Europe’s third party NTP Technology Sales Director Mikael
both the rental market in Portugal as well as the distribution partners across EMEA - will now Vest added: “HHB is one of the UK’s longest
installation business. Projects include auditoria, distribute and sell antenna and signal distribution established and most successful pro-audio
theatres, multi-purpose and conference spaces, products made by RF Venue that are designed to equipment specialists. Established nearly 40 years
hotels and retail operations. improve the signal quality and performance of ago, the company is highly respected both in the
Merging Select aims to offer the Portuguese professional wireless audio systems. broadcast and wider professional audio sector.
professional audio market something over and Boston, Massachusetts-based RF Venue “HHB employs a very talented and experienced
above ‘black boxes’, complementing technical manufactures proprietary antenna products, team of people who clearly understand and enjoy
solutions with a high degree of support, education RF distribution systems, RF to optical signal what they do. Working with HHB on the recent
and training. According to Commercial Director conversion modules, and spectrum analysis Goldcrest Post Production project was a real
João Velhinho, there are two priorities. “Firstly, hardware and software for the professional pleasure and we are confident that it will lead to
helping our market to spend its money coherently wireless audio market. new business throughout the UK market.”
in these difficult economic times. We facilitate “We’re pleased to partner with the world’s Sennheiser has entered into a partnership
this by building long-standing relationships with leading wireless audio brand to bring RF Venue agreement with Jordan-based Advanced
key brands, which gives us close links with their products to EMEA regions,” commented RF Solutions. As an authorised partner, the reseller
technical teams to the advantage of our clients,” Venue CEO Chris Regan. and systems integrator now offers products
he said. “Shure Europe’s marketing, distribution, and from Sennheiser’s System Solutions range,
“The second priority is to leverage the fulfilment capabilities will provide current and which includes conference and translation, tour
possibilities between product ranges and new RF Venue customers in those regions the guide, and a wide range of wired and wireless
companies; a great example of this is the synergy highest level of sales and support. RF Venue microphone systems.
between Nexo and Yamaha, which can make life products are highly complementary to Shure According to Sami Janho, General Manager at
much easier for the customer in both the rental wireless systems, so this agreement is a great fit Advanced Solutions, the timing is now right for
and the installation sector.” for both organisations.” the aggressive expansion of Sennheiser’s market
A.C. Entertainment Technologies (AC-ET) NTP Technology has appointed HHB share in Jordan. He said: “A reasonable portion of
has appointed Karen Fairlie to the newly-created Communications as its exclusive distributor the market now demands reputable and reliable
role of Business Development Manager for for the UK and Ireland. The agreement includes products accompanied by a high level of service.”
Scotland. the NTP Technology AX32 2U modular audio Advanced Solutions has stated that it intends
Fairlie brings a wealth of local market converter system, the DX32 1U compact digital to focus on the business communications,
knowledge and experience to the position, having audio bridge, the Penta 720 modular 2U audio hospitality, education, government, houses of
forged strong relationships with customers and router and the compact 1U Penta 721 audio I/O worship, visitor audio solutions, and guided
suppliers in Scotland over the past 20 years interface. tours market segments. It has also predicted that
while working in sales management and various “NTP has an excellent reputation for the Sennheiser’s TeamConnect, Mobile Connect, LSP
support roles. quality and reliability of its products,” commented 500 PRO, and ADN and ADN-W audio conference
She will be responsible for helping to raise Steve Angel, HHB’s Group Sales Director. “It has systems will be particularly well-received
customer awareness of AC-ET’s extensive ‘one- also proved a highly accomplished innovator. NTP in Jordan. Advanced Solutions has already
stop-shop’ of over 200 technology brands, with routers are widely used throughout the broadcast taken delivery of a range of demo equipment,
76
www.interfacio.com • +44 208 986 5002 MOVERS & SHAKERS
Opposite: AC-ET has appointed Karen Fairlie to the newly-created role of Business Development Manager for Scotland; Mig Cardamone, Director of Sales and Marketing at Sennheiser
Middle East; Chauvet Professional has appointed Jaime Friedstadt as Director of Business Development and Marketing for Hispanic Markets; Elation Professional has hired lighting industry
veteran Gary Fallon.
allowing customers in the country to receive Fallon is a familiar face to many in the industry, Vari-Lite, Strand Lighting, Selecon and Showline.
live demonstrations to aid their purchasing and having worked in product and sales management Earlier in his career, he was Latin American Sales
implementation decisions. at Martin Professional for 12 years before leaving Manager of Hubbell Lighting.
Sennheiser selected Advanced Solutions to establish his own business. “Gary comes to “The experience Jaime brings to this position
as a partner on the merit of its strong us with vast industry knowledge and experience dovetails very nicely with our vision of Chauvet’s
technical competencies in solution selling and and knows the value of hard work, discipline future in the Latin American market,” said
implementation as well as its deep penetration and supporting customers above and beyond,” Albert Chauvet, President and CEO of Chauvet.
into the local market. The systems integrator has stated Elation Sales Director Eric Loader. “Jaime has a keen understanding of the lighting
been provided with a number of online training “Gary will work to support and continue our industry and of Latin American business culture.
courses and a comprehensive two-day, hands- growth plans on the East Coast, managing our His experience in sales, marketing and business
on course in Dubai to ensure that it is capable sales reps and supporting our dealers in the development will help us build on the momentum
of professionally managing the entire project region. I am confident he will fit well into our we’ve already established in this region for
lifecycle. Advanced Solutions will also serve other company culture and growth plans.” Chauvet and our dealer network.”
systems integrators and solutions providers in Fallon commented: “I am excited to be part Friedstadt will report to Stephane Gressier,
Jordan. of a team made up of great people that are well International Sales Manager of Chauvet. “We’re
“Advanced Solutions was a natural fit for respected in the industry for their knowledge excited to work with Jaime to strengthen and
Sennheiser. The company has demonstrated and integrity.” build client relationships throughout the Hispanic
its commitment to quality and home-grown Chauvet Professional has appointed Jaime market,” he said.
expertise, and has strong competence in the fields Friedstadt as Director of Business Development Friedstadt added: “I’ve been deeply involved
of system integration and AV conferencing,” said and Marketing for Hispanic Markets for the in the entertainment and architectural lighting
Mig Cardamone, Director of Sales and Marketing company’s Chauvet Professional and Iluminarc business throughout Latin America for a number
at Sennheiser Middle East. divisions. of years. Joining an innovative and rapidly
Elation Professional has hired lighting Prior to joining Chauvet, Friedstadt growing company like Chauvet is an excellent
industry veteran Gary Fallon. He assumes the role was International Sales Manager of Philips opportunity. I am excited to get started!”
of Regional Sales Manager for Elation’s Eastern Entertainment. Having been with that company TPi
US region and will be based out of the company’s since 2001, he managed Latin American sales
South Florida office and warehouse facility. of all Philips Entertainment brands, including www.tpimagazine.com/jobs/
The position will suit someone hardworking looking to expand their knowledge
of LED Equipment.
The standard hours for this role are Monday to Friday 9:00am – 06:00pm.
Job Requirements
77
THE BIGGER PICTURE
78
www.psa.org.uk
Opposite: The conference gathers for a group shot at the second ever Event Safety Summit at Rock Lititz Studio, Pennsylvania.
reason for those gathered to listen and learn standards have already benefitted productions a burden for our sector. Lower down the tech
from subsequent presentations. From Adelman’s and helped promote backstage safety. spectrum but high on the list of products where
‘what to do’ came sessions that showed how to They say the British talk about the weather knowledge gaps may still exist was with tents.
do it. a lot but, when it comes to extremes, the US Tim Roberts of The Event Safety Shop and
Real world experience was shared in has seen its fair share. Theories were shared Richard Nix of entertainment Structures Group
presentations from Eric Stuart, a former by Kevin Kloesel of the Oklahoma University discussed technicalities, roles and responsibilities
Metropolitan Police officer and crowd safety Office of Emergency Preparedness followed in the use of these omnipresent features on the
specialist, giving insight into the maths and by a review of severe weather plans in action special event landscape.
psychology behind crowd movements from from representatives of the Firefly Music Festival In conclusion, this was for the usual bunch
events such at the two million capacity Notting in Dover, Delaware, which implemented its of safety professionals nodding in violent
Hill Carnival and London’s New Year’s Eve evacuation plan in 2015 – the best possible agreement. The Event Safety Summit provided
fireworks and Scott Dennison, sharing insights opportunity to share mistakes made and lessons an ideal forum for the exchange of information,
into the risk management toolkit deployed at learned, the very essence of the event Safety the formulation of new ideas and the growth of
Rock in Rio’s Las Vegas show. Summit. a positive safety culture that is being woven into
With all the talk of risk and its management, Britain provided further academic input from the fabric of the global live events scene.
insurance was sure to be on the agenda. Not Emma Parkinson from Bucks New University, The last word of thanks to the venue sponsors
only did the audience receive the gathered who entertained and informed the audience goes to the man whose vision really did make it
wisdom from representatives of Allianz, Take 1 with a presentation on the essential part played all possible, President and Chairman of the Board
Insurance and Alive Risk, they got a true taste in near miss and accident reporting as well as a of The Event Safety Alliance, Jim Digby: “The ESA
of collaboration as their financial support has look into safety cultures, leaving people with a is beyond grateful to have the trusted Clair Global
helped secure the existence of the ESA and its fairly clear picture of where the sector stands as team and Tait Towers as our host sponsors. To
annual gathering. a whole and where improvements can be made. have the support of such great industry leaders
Behind the drive for safer events for More product-specific sessions covered the and innovators showcases that what we strive
both workers and customers are standards. use of pyrotechnics and lasers; the former being for is much needed, as well as appreciated by our
Representatives from ESTA delivered an insight particularly poignant in the light of the tragic community.”
into how US standards are developed for products fire in Bucharest recently. The use of unmanned See you next year.
and processes as well as a run down on updates aerial vehicles (UAVs) and their role in live TPi
relating to our sector. One of the elements that events brought proceedings up to the minute, www.psa.org.uk
Adelman spoke of in his first presentation, these discussing how they can be both a benefit and www.eventsafetyalliance.org
Please note that technical services include, but are not limited to: stages, seating, 11. To ensure that all responsibilities are carried out in compliance with current
furniture, drapes, access and mechanical handling equipment and storage. legislation, licenses, standards and codes of practice;
12. To liaise with the Licensing authority and other external agencies as
Candidates must be able to demonstrate previous managerial experience in staff, necessary;
projects and budget management.
A practical and technical understanding of the requirements in relation to setting 13. To ensure that Risk Assessments are undertaken for all relevant technical
up Events is desirable. operations;
A willingness to learn new skills is essential to this role. 14. To undertake technical functions within other areas of the SECC when
required by business demands;
Responsibilities
To undertake other relevant duties as may be required by the Company from
1. To manage the efficient and safe supply and operation of technical time to time.
services, facilities and equipment to the highest possible standards;
The nature of work demands excellent fitness and health levels, strong team
2. To plan and develop effective technical solutions and layouts for individual working skills and able to work within flexible working patterns.
client requirements;
To apply for this position please send your CV along with a covering letter
3. To attend client meetings as required to provide specialist advice and stating why you are a suitable candidate for the role and current salary details
support as necessary; to Human Resources, SECC, Glasgow G3 8YW by post or email to personnel@
secc.co.uk.
4. To ensure appropriate technical liaison with clients during the planning, Only those applicants who can demonstrate the experience and qualifications
build up, open and breakdown periods of events; we have outlined above will be considered for this role.
79
The TPi Production Guide
01565 652202
rental@vme-uk.com
www.vme-uk.com
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