TPi October 2015 - Issue 194 by Mondiale Media

TOTAL PRODUCTION INTERNATIONAL

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OCTOBER 2015

ISSUE 194

LIVE EVENT DESIGN & TECHNOLOGY • OCTOBER 2015 • ISSUE 194

FESTIVAL N0.6 THE WELSH WONDER IN A LEAGUE OF ITS OWN SLAVE TO THE RYTHM...

THE OFFSPRING • CREAMFIELDS • KINGS OF LEON • FESTIVAL SPECIAL • ARCADIA IN PROFILE: PRODUCTION PARK • INTERVIEW: DICK TEE • IN THE SPOTLIGHT: RCF

Focused on the Future Experience • Choice • Value • Service

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AN ICONIC END TO THE SEASON As you will be well aware, we were out in full force at the PRO Performance and Technology Show in September. I really enjoyed the relaxed atmosphere over the course of the weekend, and I even got stuck into some panel discussions (I’m pictured with the impressive brains behind Arcadia in the photo above). I do love it when a natural debate occurs! Thanks to everyone who came to chat, it was so interesting to engage on that level. I was also personally very excited to see the Production Park team on the show floor. Lee Brooks talks us through the live event hub’s future aims in this issue, and it’s a real breath of fresh air. Make sure you check out both our PRO report on Pg. 96 and the incredible story behind Production Park so far on Pg. 70. This edition marks the end of our Festival Special run, and what a season it’s been. I’m actually rather sad about it ending! There’s no feeling quite like sharing outdoor production values with thousands of strangers. Our monumental cover star this month is, of course, Miss Grace Jones, headline act at Festival “Festival No.6’s Production No.6 - one of my all time favourite events. Manager, Ryan Esson, There’s no real way to explain how scenic and continues to handle his majestic that festival site is, so I encourage you portfolio of events like a all to get involved as punters should you ever get the chance. This year I spoke to the people and true pro, and that’s why companies about what their services bring to the this year we’ve asked him production, and why they love being involved. I to come on board the even got to chat to Grace’s Production Manager, TPi Awards as our own Kamal Ackarie, who is impressively in tune with the multi-talented artist. Production Manager.” In news closer to home, Festival No.6’s Production Manager, Ryan Esson, continues to handle his portfolio of events like a true pro, and that’s why this year we’ve asked him to come on board the TPi Awards as our own Production Manager. Ryan, we can’t wait to make the event our best ever with you and your team! That’s all for now, as mondo*dr’s Rachael and I are about to depart for Oktoberfest in Munich where we’ll be joining many other industry press colleagues for the annual ISE meet up. Yes, that’s right, we’re going to a legendary beer festival. For work. Honestly! We’ll be celebrating in style this October too, as it’s officially been an entire year since we both gave up alcohol to raise money for Macmillan Cancer Support. If any of you reading this are taking part in Sober for October this year, please let us return the favour - your donations were greatly appreciated. Now, about that German beer… Kelly Murray Editor

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ITINERARY EVENT FOCUS

CREW

08 New Rigging Apprenticeships a member of

Editor Kelly Murray Tel: +44 (0)161 476 8360 Mobile: +44 (0)7738 154689 e-mail: k.murray@mondiale.co.uk Assistant Editor Ste Durham Tel: +44 (0)161 476 8385 Mobile: +44 (0)7891 679742 e-mail: s.durham@mondiale.co.uk Editorial Assistant Stewart Hume Tel: +44 (0)161 476 8360 Mobile: +44 (0)7712 607419 e-mail: s.hume@mondiale.co.uk General Manager - Magazine & Awards Hannah Eakins Tel: +44 (0)161 476 8360 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk Advertising Sales - TPi Magazine Charlotte Goodlass Tel: +44 (0)161 476 9126 Mobile: +44 (0)788 0208 226 e-mail: c.goodlass@mondiale.co.uk Event Manager - TPi Awards Mo Naeem Tel: +44 (0)161 476 8360 Mobile: +44 (0)775 9272 313 e-mail: m.naeem@mondiale.co.uk Graphic Design & Production Dan Seaton: d.seaton@mondiale.co.uk Mel Robinson: m.robinson@mondiale.co.uk Accounts Donna Barlow / Sarah Miller: ar@mondiale.co.uk Chief Executive Justin Gawne Mondiale Group Chairman Damian Walsh www.tpimagazine.com • www.tpiawards.com Cover Photography Grace Jones at Festival No. 6 by Andrew Whitton Contributors Brooke Nolan Printed by Buxton Press Annual subscriptions (including P&P): £42 (UK), £60 (Europe), £78/$125 (RoW). Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK. Tel: +44 (0)161 476 5580 Fax: +44 (0)161 476 0456 e-mail: subscriptions@mondiale.co.uk Issue 194 / October 2015 TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence. ISSN 1461-3786 Copyright © 2014 Mondiale Publishing Limited. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publishers. Every effort is taken to ensure accuracy in the preparation of this publication but neither Mondiale Publishing Ltd, nor the Editor, can be held responsible for its contents or any consequential loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork. Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Publishing Limited United Kingdom. The 2014 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Publishing Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.

Industry launches new Trailblazer scheme.

10 Proms In The Park The Martin Audio MLA system passes its

toughest test yet.

12 Secret Garden Party

Meet the festival that says no to sponsorship and yes to eclecticism (and to Funktion-One).

16 The Offspring

The US punk band’s LDs utilise Robe, Philips and Martin fixtures on a recent UK mini-tour.

18 Kings of Leon

Cancellations and glacial fjords coundn’t halt the band from writing its own Icelandic saga.

22 Somerset House Sessions

The Somerset House Series returned this year with Blackmagic cameras.

26 Mumford & Sons

The band have once again allied with Ed Warren to work as Lighting and Production Manager.

30 Sel Live In Lithuania

NO NOISE has invested heavily in Powersoft’s new X8 platform.

34 The Shawshank Redemption White Light serves its time on the theatre

adaptation of the famous film for a UK tour.

PRODUCTION PROFILE

36 Festival No. 6

TPi speaks to the people and companies that enable this live wonderland to flourish.

50 Creamfields

The bank holiday festival has now become the UK’s premier electronic music event.

60 Arcadia

Biofuel flames, LED jellyfish, and musical tesla coils are just some of the additions to Metamorphosis.

COMPANY PROFILE

70 Production Park

TPi goes behind the scenes with Lee Brooks at the long-awaited 300,000 sq ft multi-service site.

FESTIVAL SPECIAL

76 In this instalment: Ramblin’ Man Fair, OVO, Beat-

Herder, Sónar Día, V Festival, Bingley Music Live and many more.

EXPO

96 Action from PRO 2015, from panels to parties.

INTERVIEW

108 TPi hears how Dick Tee met Metallica’s lofty

expectations at Reading and Leeds festivals.

IN THE SPOTLIGHT

112 RCF’s Sandro Chinellato talks us through the M

Series M18 Digital Wifi Mixer.

MOVERS & SHAKERS

114 The latest industry appointments.

PSA

118 PSA looks at serious industry health risks.

VITAL STATS

122 Okulus co-founders Louis Oliver and James Scott

talk shop.

EVENT FOCUS: Trailblazer Apprenticeships

UK RIGGING INDUSTRY LAUNCHES NEW TRAILBLAZER APPRENTICESHIPS THE UK GOVERNMENT HAS ANNOUNCED THE APPROVAL OF 59 GROUP STANDARDS FOR TRAILBLAZER APPRENTICESHIPS AS PART OF ITS COMMITMENT TO SUPPORT THREE MILLION NEW APPRENTICES IN THE UK BY 2020. SUPPORTED BY KEY INDUSTRY EXPERTS, THIS NEW INITIATIVE LAUNCHED THE FIRST APPRENTICESHIP AS A LIVE EVENTS RIGGER, THE DEVELOPMENT OF WHICH HAS BEEN FACILITATED BY THE NATIONAL RIGGING ADVISORY GROUP. In April 2015, the UK’s Government Department of Business Innovation and Skills (BIS) set standards to lead a rigging apprenticeship initiative. The hope was to also assist other companies in providing similar opportunities to young individuals interested in pursing a career in rigging. Development of the incentive has been facilitated by the National Rigging Advisory Group (NRAG) which is formed of leading industry employers. There are already several key rigging leaders who have committed to supporting the Trailblazer initiative including Blackout, 08

Production Services Ireland, Chris Higgs, NEC Group, UK Rigging, Unusual Rigging, Production Resource Group UK, Outback Rigging, Star Events, Rigging Services, Knight Rigging Services, Gallowglass Crew, Affinity Crew and Neon Arena Services. Minister for Skills, Nick Boles outlined the key benefits to the programme: “Businesses are better placed than anyone to train the next generation of workers and will help us deliver three million high-quality apprenticeships by 2020. By designing apprenticeships, organisations like the National Rigging Advisory Group and the employers they represent are

EVENT FOCUS: Trailblazer Apprenticeships

Opposite and below: There are only 600 event riggers in England with the demand far outweighing supply, especially at busy times in the season, but the new apprenticeships aim to bring new blood into the sector.

ensuring that young talented people develop the skills needed to progress up the career ladder and help drive businesses forward.” Incentives such as the Trailblazer initiative are essential to the industry as, according Claire Hawke, NEC group’s Learning and Development consultant, there are only 600 event riggers in England with demand far outweighing supply,

talented sector at a national level.” Paul Riddiford, National Rigging Certificate (NRC) Manger at PLASA, explained why supporting he is the Live Events Rigger Apprenticeship: “As the scale of live events continues to grow bigger, heavier and more extreme, rigger competence is of the utmost importance. This formal structured learning

“With the industry growing, the demand for Live Event Riggers is heightened, hence the need for employers to work together and all take on responsibility to develop a core of dedicated, highly-skilled individuals.” Adelaide Johannsen, Blackout’s HR Manager

especially at busy times in the season. She commented: “We recognise that the future of the trade is reliant on fresh talent coming up through the ranks. Trailblazer gives us the opportunity to build on the trainee scheme we currently have in place, allowing the youngsters to benefit from the knowledge of our in-house expertise and be recognised in this highly

apprenticeship will provide the riggers of tomorrow with the best information, experience, advice and guidance from industry experts, allowing them to first gain and then by achieving their NRC demonstrate that competence.” Adelaide Johannsen, Blackout’s HR Manager, added: “The techniques employed within

live event rigging have been deployed by the very people who are leading our Trailblazers initiative. With the knowledge that a structured development for those deciding on a career in rigging is long overdue, our NRAG working group has developed the live event rigger standard. “Regulations naturally require riggers and personnel involved with lifting operations to be competent. It is a safety critical occupation and the work demands a professional approach borne of years of experience for which there is no shortcut. “With the industry growing, the demand for live event riggers is heightened, hence the need for employers to work together and all take on responsibility to develop a core of dedicated, highly-skilled individuals. This will ensure the skills gap is minimised and competent live event riggers develop, qualified to work safely in a very hazardous and continually changing environment, and become recognised by way of a Level 3 apprenticeship.” The Trailblazer apprenticeship in Live Events Rigging is expected to be available by early 2016. TPi www.plasa.org/nrag

EVENT FOCUS: Proms in the Park

MLA PASSES ITS TOUGHEST TEST YET AT PROMS IN THE PARK CAPITAL SOUND’S BIG WEEKEND AT HYDE PARK, WHICH TRADITIONALLY BRINGS THE CURTAIN DOWN ON THE FESTIVAL SEASON, SAW PROMS IN THE PARK LINK UP LIVE WITH THE LAST NIGHT OF THE PROMS AT THE ROYAL ALBERT HALL, WHILE SIMILAR EVENTS TOOK PLACE IN BELFAST, SWANSEA AND GLASGOW. Capital Sound has become accustomed to rigging its flagship Martin Audio MLA at the London site, mitigating its historic problems with offsite noise escape. Working for promoters Festival Republic for the second year, the crew most likely anticipated an easy ride following the successful system induction in 2014. However, 48 hours before the event, the BBC decided to install two ‘interview’ tepees in the guest hospitality enclosure - a stone’s throw from the right PA hangs and outfills - and requested the sound to be steered away from this area in order that artist interviews between acts could go live to air without stage sound intrusion. Capital’s Project Manager Martin Connolly consulted with Andy Davies and Nigel Meddemmen at Martin Audio - knowing this was perfect territory for MLA’s advanced optimisation control software. Martin Audio’s two Technical Support 10

Specialists knew they would be able to write a new profile for the side hang, negating the need to turn specific boxes off. “The original sound design was as requested with coverage into the guest area, but then the BBC realised they had located the tepees directly under the coverage area,” he said. “It was very late in the set-up, all arrays were flown and strapped at the bottom to avoid any movement in windy conditions, video screens were in position and banners added above and below the video screens. To bring an array in to redeploy with different angles would have been a nightmare and would have added hours of work.” Connolly recalled: “Fortunately knowing the unique technology available with a multicellular system the obvious answer was to use the ‘hard avoid’ feature. Between Andy [Davies], Toby (Capital MLA Tech Toby Donovan) and myself we created a unique optimisation for that hang. We created a profile that maintained the coverage we originally had for the audience

area - with the exception of the area from under the array to just beyond the tepee, which was specified as ‘hard avoid’. “The result was startling. As you walked towards the array the coverage sounded identical to the previous optimisation, suggesting that the level would not be sufficiently reduced at the tepees; but the reality was extraordinary, the drop in level was huge. “We all looked at each other with huge grins,” continued Connolly. “I don’t think I have ever experienced such a compelling demonstration of the control available from an MLA system. It worked exactly as intended, the interviews were broadcast to air and were relayed to the audience through the main system - including the side hang - without the slightest hint of feedback. It would have been impossible to achieve the same result via such a method with any other system.” In order to maintain sound levels through the audience, there was a smoother front to

EVENT FOCUS: Proms in the Park

Below: The team soon found out that Proms in the Park was the perfect situation for MLA’s advanced optimisation control software.

back SPL profile with the delays running at only a few dB lower than the main arrays to give the audience a far more engaging experience at a significantly higher level. Positionally, they moved the first delay ring 10 metres further back from the stage, the second ring 20 metres and the third ring 30 metres. A further new feature was the deployment of 10 Martin Audio DD6s at the BBC’s VIP stand, the structure of which had changed this year. “Last year we made sure we avoided hitting the glass doors with sound to avoid reflection,” said Connolly. “Therefore, by steering the MLA Compact delay hang nearest the structure away

from the veranda, the sound needed lifting in the HF; deploying a DD6 on each pillar led to a significant improvement.” Capital also installed 12 Martin Audio F8 inside the structure - both systems time aligned to the main system but with local control. Meddemmen added: “One of our R&D department’s great achievements has been to give such a uniform tonal balance between all systems so even the smallest speaker will blend beautifully with a large multicellular array.” As for the main PA configuration, 16 MLA plus one MLD Downfill were hung on each side while the sidefills consisted of 12 MLA plus one MLD Downfill. A further 26 MLX subs formed a cardioid pattern across the stage front to facilitate beam steering. Playing out through the system were artists including: The Jacksons, Caro Emerald, Russell Watson, Alison Balsom, The Mavericks, Beverley Knight, Matt Cardle and the cast of Memphis,

Jack Pack, Danielle de Niese and the BBC Concert Orchestra, with Tony Blackburn, Ken Bruce and Sir Terry Wogan presenting. And so once again Capital Sound was able to work well within the parameters set by noise level acousticians, Vanguardia. “We were able to obtain 98dB(A) easily at FOH while dropping to the specified 75dB(A) offsite,” said Connolly. Also more than happy with the result was Head of Production, Dick Tee. He said: “Capital Sound provided the MLA audio system for the Proms night and once again the system proved to be excellent,” he said. “There was no change to the coverage profile for the second day, Radio 2 Live in Hyde Park. The ‘Festival in a Day’ is designed for the Radio 2 audience with a wide range of acts none of them requiring heavy SPL. “As for the sound system, nothing was changed between the two days other than some minor tweaks to compensate for fluctuations in weather conditions,” claimed Meddemmen. Summing up the event, Connolly stated: “Everything went smoothly and the BBC were happy with the way we controlled the sound.” TPi Photos: Sarah Jeynes www.martin-audio.com

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EVENT FOCUS: Secret Garden Party

SECRET GARDEN PARTY SECRET GARDEN PARTY FLIES IN THE FACE OF TRENDS IN FESTIVAL ORGANISATION. IT ALSO DOES WHATEVER FEELS GOOD, WHICH INCLUDES BUILDING 15 STAGES, A WORLD OF CREATIVITY AND THE SORT OF THINGS YOU MIGHT ONLY BELIEVE IF YOU SAW THEM. THE FESTIVAL STILL SAYS NO TO SPONSORSHIP AND YES TO ECLECTICISM (AND FUNKTION-ONE LOUDSPEAKERS). NO LESS THAN 10 OF SECRET GARDEN PARTY’S STAGES WERE FILLED WITH SOUND FROM THE BRITISH MANUFACTURER’S PORTFOLIO. Every July for the last 11 years, Secret Garden Party has floated into Mill Hill Field and painted the Cambridgeshire landscape with colour, life and music. What started out as a one-stage event in 2004 has grown magnificently, to the extent that seven years later another 14 stages had been added. In 2015, the daily capacity was around 32,000 people for each of the four days. Two Funktion-One rental partners, Vortex Events and Audio Feed supplied sound to a total of 10 stages. In doing so, they showcased a decent chunk of the manufacturer’s range of loudspeakers, mixing some old favourites with the latest release - the Funktion-One Evolution Series. This is the fourth year that Iain Rendle’s Vortex Events has worked with the festival. It’s a relationship that continues to flourish, he explained: “We have been Funktion-One users based in Hertfordshire for about 10 years now and have been involved with Secret Garden Party for the last four. Working closely with 12

The Dark Horses, who handle the Technical Production, we have been asked to do more stages.” Vortex Events took care of Pagoda, The Lost Disco, Labyrinth, Labyrinth Live and Toad Hall. Rendle continued: “Pagoda is one of the most coveted and legendary stages on site, with queues to get on sometimes taking hours. It’s a floating platform just off the edge of the lake, which offers one of the most open and picturesque party environments onsite. This year we put in the new Evo 7 system and custom made a new PA tower system to form something akin to a latest generation Dance Stack.” Rendle and his crew positioned four stacks around the edge of the arena, pointing in towards the centre. “The height gained from the truss towers allowed us to keep all the energy focused within the arena,” he said. Each stack comprised two Funktion-One Evo 7EH 2-way speakers, two F215 Mk2 and four F121 bass enclosures, with F101 speakers deployed for

infill. Pagoda’s system was powered by Full Fat Audio (FFA) amplification and driven by XTA DP448s. FFA’s Dave Millard and Vortex Events’ Luke Lalla-Maharajh engineered the sound. The Lost Disco - formally Feral Fever - was transformed into a big open party in the woods, formed around an impressive structure with raked levels, walkways at the back and a large dancefloor in the middle. Here, the system was made up of 10 Funktion-One AX88 mid-high speakers, eight F121 bass enclosures, two BR221 bass reflex speakers, six F215 Mk2s and F101s (for infills). Funktion-One RM18s and PSM318s were chosen for DJ monitoring, with FFA amplification and XTA control throughout. “The AX88s are very useful,” reflected Rendle. “The dispersion characteristics on the vertical mean the coverage of the crowd when placed up high is excellent. The sound is clean, punchy and our engineers Martin Vis and Jono Bell managed to get them into all the positions they wanted, creating an arena free from any unwanted dead spots.”

EVENT FOCUS: Secret Garden Party

Opposite: Secret Garden Party started out as a one-stage event in 2004 and has grown to the extent that seven years later, another 14 stages have been added. Below: Vortex Events took care of Pagoda, The Lost Disco, Labyrinth, Labyrinth Live and Toad Hall.

Labyrinth was a new addition for Vortex this year and, aptly, featured more of FunktionOne’s latest generation Evolution speakers. “The stage was located down a secret pathway,” said Rendle. “At first I was dubious as to how many people would actually find this stage; I guess I hadn’t taken into consideration how much the Secret Garden Party-goers like adventure.” The system comprised four Funtkion-One Evo 7E spakers, two Evo 6E speakers, 12 F121 and four F215 Mk2 bass enclosures, along with a stock of F101 speakers for infill. Again, FFA

amplification and XTA processing were used. “Our Engineers Curt Gilmore, James Brown and Josh Gerrard made sure it never skipped a beat,” added Rendle. Labyrinth Live, a little pop up stage located halfway down the secret path leading on to the main Labyrinth stage, was small but well equipped with two stacks of Funktion-One F218 Mk2 bass enclosures and Resolution 2s driven by FFA amplifiers and XTA processing. Engineer Ben Skipworth was commended for his contribution in all sorts of adverse weather

conditions throughout the weekend. Vortex Events also looked after Toad Hall - a 24-hour bar with a live stage and ‘off the wall’ acts like Dueling Pianos. “This was a haven for all of the partygoers for the weekend,” reflected Rendle. “This year we decided on using eight Funktion-One F1201s and two F118s. All of the 1201s were perfectly spaced in a ‘U’ shape attached to the outer poles on the tent pointing in. The coverage was perfect in the space. Engineers Nick Waters and Ollie Chamberlain mixed a variety of performers over the weekend.” Audio Feed took care of an equally eclectic mix of spaces and stages, which included Maya Jane Cole’s tent, the Lake Stage, Kitsch Inn, Dance Off and The Drop. Maya Jane Cole’s private party tent was stocked with two Funktion-One F1201 speakers, a pair of F121 bass enclosures, and F101 speaker and FFA amplification. “This was a lovely sounding cosy place out of the rain for her and her mates,” revealed Audio Feed’s Will Wright. The Lake Stage - a large floating toy boat in the middle of a lake - was home to a pair of Funktion-One AX88s and some F118 bass enclosures on a floating pontoon. Power came from MC2 amplifiers and control from XTA. “There was the cocktail bar, which was

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EVENT FOCUS: Secret Garden Party

Below: Vortex Events and Audio Feed supplied sound to a total of 10 stages. In doing so, it showcased a decent amount of Funktion-One’s range of loudspeakers, mixing some old favourites with the recently-released Evolution Series.

a lovely example of how usable the smaller Funktion-One speakers can be for different applications,” said Wright. “The main system was a pair of F121s with F1201s on poles. Then there were four F101s filling four raised seating areas with XTA processing doing all the time alignment to make for a very relaxing listening environment. MC2 E Series amplifiers supplied power.” Darren Stratford, Leigh Simmons, Alex Barrie and Chris Lynden looked after the sound at Maya Jane Cole’s tent, the Lake Stage and the cocktail bar. The Kitsch Inn featured a live stage and hosted a wide range of bands all the way until 6am every morning. The system here was made up of four Funktion-One Evo 6E speakers, two F215 Mk2 and four F121 bass enclosures, with XTA processing and MC2 amplification. At FOH, Luke Basson mixed on a Midas PRO1 console. Wright explained: “This was our first outing for the Evo 6Es and I was particularly excited about hearing some live vocals through those new 10-inch axe heads. I was not disappointed. Frequency response was spot on, but the real excitement came from the overall energy that the system seemed to deliver. The transients in the mid-range were constructing one of the most stable stereo images I have ever heard in a live situation. Eyes closed and I really couldn’t 14

tell you where the speakers were.” The Dance Off was installed with a quadraphonic stack system, with the front left and right comprising two F221 bass enclosures and two Resolution 4 Touring speakers on each side. The rear positions also used two Resolution 4 Touring speakers, which were combined with two F121s. “The system layout was properly triangulated to achieve a perfect square for maximum phase coherence and also maximum rejection outside of the stage,” explained Wright. “This was hugely successful and something that I’ve been using the big long measuring tape for for a while now. This was also all driven with XTA 4 Series and MC2 amplification. We were testing the new E60 on the top end of the Res 4s and I was very impressed. It sounded fantastic and is one of the lightest amplifiers I’ve ever used.” The Dance Off was engineered by Simon ‘Diggers’ De La Cour. “The Drop was a great little project for us,” he said. The system was set up using eight Evo 7E speakers, two F215 Mk2 bass enclosures, 12 F101s and two F1201s, with amplification from XTA’s new APA amp. The system was controlled using an XTA DP544, two DP448s and a DP226. Audio Feed boss, Oz Jeffries, looked after the running of The Drop during the event. Wright continued: “I decided that the

processing needed some thought as it was such a new system, an interesting venue and a great lineup. So I ran the 544 as a main processor, with the inputs set to digital being fed from the DJM900, this then fed the two 448s, one for left, one for right with the four outputs from the 5 Series feeding inputs A and B on both 448s. Again this was all done digitally. “I did this so we had a separate outputs on the 5 Series for the top row of Evos, meaning the level could be changed without altering each individual band. Having the system routed like this and using AudioCore on a remote tablet made getting my head around the sonics of all the new stuff very easy. As for the sonics, that blew me away. “The transients in the mid-range and HF were astonishing - building a solid stable image right the way to the back of the dancefloor and delivering an exceptional amount of energy to the party goers. The APA amplifiers were very impressive. The bass sounded very real and organic without sounding too fast and unnatural - especially in the crossover area with the F215s. It was seamless.” TPi http://2016.secretgardenparty.com audio-feed.co.uk www.funktion-one.com www.vortexhire.co.uk

EVENT FOCUS: The Offspring

THE OFFSPRING: LIVE AND LIT WHEN US PUNK BAND, THE OFFSPRING, FLEW TO THE UK FOR A MINI TOUR, THEY NEEDED A LIGHTING PACKAGE AS DYNAMIC AS THEIR FULL THROTTLE AND ENERGETIC LIVE SHOWS. TPi SPEAKS TO UV LIGHTING’S CRAIG GAFF AND LAWRENCE UPTON ABOUT TOURING WITH ONE OF THE MOST INFLUENTIAL POP PUNK BANDS IN RECENT HISTORY. This tour would be the first time that US-based UV Lighting - made up of business partners Craig Gaff and Lawrence Upton, who is the band’s LD - would work with UK rental houses Zig Zag and Lite Alternative. It was also the first time in almost a decade that Upton would receive a rig made up primarily of Robe fixtures. “I have been working with The Offspring since this spring. Their Production Manager Rodney Johnson and I worked together on The Smashing Pumpkins before that, which is how I got the job. There is always a challenge when working with a new artist such as finding out what they do and don’t like, but The Offspring are a great bunch of guys to work with, this design was a lot of fun to create,” Upton told TPi. “For my designs, I usually use Philips Vari-Lite and Martin Professional brands, but it was nice to get my hands on the newer Robe fixtures for this tour,” he explained. “The Robe kit worked 16

very well; the Pointe is a very versatile fixture with some amazing features and the BMFL has a very nice punch to it. Pretty much everything in the Robe kit was new to me, so this was a really fun project. The last time I had the opportunity to use Robe fixtures was in 2006 when I had a number of ColorSpot 1200 ATs with me for a US tour with Kirk Franklin. Vari-Lite and Martin Professional are widely available in the US, so its what I’ve become very familiar with.” For operation, Upton chooses MA Lighting grandMA desks: “Because they are also so widely available around the world, and I find that it provides me with all of the tools I need to create a show for any environment. I even own an MA desk myself!” he noted. “Design wise, it’s a big impact rock show, so we treat it as such. We had a main overhead package from Zig Zag who provided our Robe kit and we had a supplemental floor package from Lite Alternative that consisted of 12 Philips

EVENT FOCUS: The Offspring Opposite: The Offspring’s lighting package came from Zig Zag and Lite Alternative. Below: The band are described as “brilliant” to work with by their LD, Lawrence Upton (below).

Color Kinetics iW LEDs for floor lighting, six Philips Vari-Lite 3500 washes which we placed on a vertical truss, and 10 4-lite molephays, plus six Martin Professional Atomic Strobes.” Lite Alternative also provided an MA Lighting Command Wing. Additionally, Leeds-based Zig Zag Lighting provided three lighting plots on three trusses: a 10-metre downstage truss, 10 Robe Robin 600E Spots, four 4 Cell Blinders, 10 1,200K Philips Strand Fresnels, 12-metres of MS Truss, eight Robe Robin BMFL Spots, eight Robe Robin 600 LED Washes, six Robe Robin Pointes, six Martin Professinal Atomic 3000s, 10 4 Cell Blinders, 12 metres of US Truss, eight Robe Robin BMFL Spots, eight Robe Robin 600 LED Washes, eight Robe Robin Pointes and Martin Professional Atomic 3000s.

Finally, two Robert Juliat Lycian M2 Followspots, two Antari HZ-350 Hazers and two AF-3 Fans were utilised in the show design. Zig Zag also provided the MA Lighting grandMA2 Light desk as requested. In a slightly unusual set-up for a tour of this size, the double rental arrangement worked well. “Both companies worked amazingly well together, it was like there was just one company working with me. If there was ever an issue, everyone worked together as one unit to enable the show,” said Upton. Tom Clifford-Loynes of Zig Zag Lighting commented: “The two shows we did with Lawrence Upton in Manchester and London were great, he is a great guy to work with and has a great sense of humour too! For these shows, we also provided a programmer to help

get the most out of the grandMA system as they had very little programming time and no opportunity for a production rehearsal. They all did a great job.” Upton concluded: “This was a great experience, The Offspring are an amazing band to tour with and I’m looking forward to continuing our working relationship. I can’t state enough that they are brilliant musicians to work with, as were the two rental companies.” TPi Show photos: Tijs van Leur www.ixnay-media.com http://offspring.com uvltg.com www.zigzaglighting.co.uk www.lite-alternative.com

EVENT FOCUS: Kings Of Leon

KINGS OF LEON IN LOGISTICAL FEAT RATHER THAN LET A LAST-MINUTE CHANGE OF PLANS WREAK HAVOC WITH KINGS OF LEON’S ITINERARY, THE CREW USED IT AS A CHANCE TO BLAZE A NEW TRAIL THROUGH EUROPE. THE GEAR WAS HAULED ACROSS LAND, SEA AND AIR, FROM SPAIN, TO HUNGARY, VIA ICELAND. TPi’S STE DURHAM SPEAKS WITH THE TEAM TO FIND OUT HOW AND WHY THEY BECAME THE FIRST TOUR TO TAKE THIS REVOLUTIONARY ROUTE.

Although the new NiFi Festival in Sparta, Kentucky was in place to bookend a run of shows in Europe, its cancellation provided the opportunity to rethink the band’s freight plans to Reykjavik, Iceland before heading to Budapest, Hungary for the Sziget Festival. Kings Of Leon’s Production Manager, Paddy Hocken, picked up the story: “We first had a pair of shows booked in Switzerland and Barcelona. Before the cancellation I was already talking with Rock-It Cargo about sea freighting the gear from Barcelona to the US, so the natural thing seemed to be to air freight it to Iceland, which is what most bands had previously done. We got a quote and then it occurred to us to truck the gear to Iceland (from Barcelona) as the local trucks in Iceland wouldn’t be the rock ‘n’ roll style trucks but would be sea container style trucks, which 18

always makes life harder.” The decision was taken to drive two Redburn Transfer trucks from Barcelona to Hirtshals in Denmark and then catch the ferry to Seyðisfjörður in Iceland. From there, the trucks drove around 500 miles to Reykjavik, spending a total of two weeks in the country, due to ferry scheduling. Managing Director of Redburn Transfer, Chris Redburn, said: “We’ve been working with Kings Of Leon for around 12 years. First they had a Sprinter from us, then an 18-tonner, then an articulated lorry - its been a gradual build to the huge stadium shows they put on now.” Redburn stated that it would usually send five trucks for a festival-sized show, but the Icelandic venue was slightly smaller. While this did the team a favour in that the load was lighter, there was still the matter of negotiating

the long roads that snaked through glacial fjords. He continued: “Iceland was an interesting one. We sent a trailer there once, years ago, but this is the first time we’ve sent trucks. It was quite an experience for our drivers due to the remarkable terrain. The country is also surprisingly big. I was personally shocked to find out that it was 500 miles from the port to Reykjavík. Luckily, as it was summer, the climate was not an issue - though I’ve no doubt it would have been if it was winter.” As the specified PA system, video screen and lighting rig were locally supplied in Reykjavik thanks to local rental house Exton, the trucks only set off from Barcelona with the band’s backline, sound control, video control, lighting control, stage risers, production, wardrobe and some lighting specials.

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EVENT FOCUS: Kings Of Leon

Opposite: After docking at Seyðisfjörður in Iceland, the trucks drove around 500 miles to Reykjavik through glacial fjords. Below: According to Kings Of Leon’s PM Paddy Hocken, the drivers themselves were “quite the envy of the trucking world” during the Icelandic trip.

While this was enough of a squeeze, the trucks also had to make a stop en route to take on more kit that was missing in Iceland. Hocken explained: “The promoter could not supply enough barricades of a type that we felt were acceptable for the show, and we were also without a few other bits and bobs that weren’t available in Iceland. We could have rented the gear from Denmark or the UK and had it freighted in, but that would have added unplanned expense for us and the promoter. We decided to pick up some barricades from eps in Cologne on the way. It was a win-win because the Icelandic promoter was grateful that he didn’t have to freight in more barricades and we ended up with the ones we wanted.” Where the pace of the route to Reykjavik had been relatively languid, the next leg to Hungary had to happen in a fraction of the time. Straight after the show, the reloaded Redburn trucks drove to liaise with staff from Rock-It Cargo, who had agreed to fly all of the 20

Kings Of Leon gear overnight to Budapest on a chartered Boeing 737-400 Freighter. Eddie Clarke, Freelance Special Ops for Rock-It Cargo, was onsite dealing with the load-in onto the plane. Hocken commented: “Luckily we didn’t have to deal with any unforeseen problems. Eddie built the palettes on the plane and, although the style of gear and heavily-contoured shape of aircraft was a challenge, he’s a total pro and made it happen.” Matt Wright of Rock-It Cargo added: “You always have to bear in mind the payload of the aircraft, and this route was near enough maximum take off weight. If the weather had gone against us we might have had to do a fuel stop or dump cargo, which wasn’t an option. Luckily the weather was in our favour and it worked out pretty well.” Once safely touched down on a Hungarian runway, the plane then met another set of Redburn trucks ready to drive the gear to Sziget Festival and load-in at 11pm, as soon as Swedish DJ Avicii finished his headline set.

EVENT FOCUS: Kings Of Leon

Below: It took a combination of Redburn trucks, a sea ferry and a Boeing 737-400 from Rock-It Cargo to complete the epic European trip.

So much was the success of the journey that Hocken and the team agreed that this was a route that could be used again in the future, if need be. Hocken said: “It ended up not being stressful at all. If anything it was a benefit that we could use more of our own people, so we felt more in control. Once you’re in the realms of the external airlines, the situation is out of your control - which is why I like my longstanding relationship with Matt and Rock-It because they do have some influence once the gear goes airside.” He continued: “We also got Redburn Transfer in because we are used to using the company. They were our usual trucks and our

usual drivers, and this made things a lot easier once we got to Iceland. It also ended up £50 cheaper!” Bolstered by the success of the adventure, Kings Of Leon recently embarked on another unconventional mission - again with the assistance of Redburn trucks and a Rock-It Cargo’s 737-400. The team went from Konstanz (via Stuttgart Airport) to Gibraltar (via Malaga Airport) using the same protocols honed during the Iceland trip. While the outing was just as successful, it is not often that the drivers will be treated to such a view as they were from their cab as they breezed through Iceland’s frozen wilderness.

Hocken concluded: “During the Icelandic trip, the drivers themselves were quite the envy of the trucking world! Barcelona for the festival was quite manic, then these guys set out on roads with zero traffic and breathtaking scenery. All told it’s quite surprising that we were the first crew to have done it!” TPi Photos: Eddie Clarke, Andy Barr, Iain Lewis www.kingsofleon.com www.paddyhocken.com www.redburn.co.uk www.rock-itcargo.com www.eps.net www.exton.is

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EVENT FOCUS: Somerset House Series

SOMERSET HOUSE SERIES SET IN ONE OF LONDON’S MOST ICONIC LANDMARKS, THE SOMERSET HOUSE SERIES RETURNED THIS YEAR WITH AN IMPRESSIVE LINE UP OF HEADLINE ARTISTS AND HOTLY-TIPPED EMERGING ACTS. THE WHOLE EVENT WAS CAPTURED BY TWENTYFOURSEVEN FILMS USING BLACKMAGIC CAMERAS. For yet another year, Somerset House played host to the intimate open-air festival that spread over 11 days, seeing the likes of James Bay, George Ezra, Jessie J, Gary Clark Jr. and Chromixx perform to sell-out crowds. However, the fact that Somerset House is a grade two listed building presents more obstacles than your average festival site. The job of providing video solutions for the shows was given to Twentyfourseven Films and, according to Director Bela Molnar, the location presented quite a challenge. “No vehicle of any kind was allowed on, or near, the courtyard of this impressive venue,” he commented. “What I needed was a flexible solution that was not only portable, but also capable of handling 11 straight nights of live performances.” What Molnar and the team came up with was a nine camera set up connected to an optical fibre network built around a Blackmagic Design infrastructure, all housed within a flight case measuring one by two metres. Even though there were nine positioned 22

cameras, only two of them were manually controlled by camera operators. But according to Molnar, this did not hinder the Twentyfourseven crew: “It all comes down to how you position your cameras. We treated every performance as its own production. Now that’s as big a challenge as it sounds, as each artist or band sets themselves up very differently. Each day I would pull the static camera positions down and reconfigure the setup to ensure we got the best of every performance. Shooting in UltraHD 4K also meant we could reframe shots in post if needed. The ease with which I was able to reset camera positions each day meant I didn’t disrupt my crew, or anyone else, whether that was the staging guys or band technicians.” To be as prepared as possible, Molnar analysed previous shows the artists had been involved in over the recent festival season. He explained: “This gave us a better idea of the type of movements the lead artist might make, or how a band might set up. That meant I had

some familiarity with each of the acts before coming into the series with Somerset House, and that certainly helped in planning the static camera positions.” The two manual camera operators used Blackmagic’s Production Camera 4K with one situated in the pit area and another on the stage. The stage operator had to alternate between filming from a tripod and shoulder positions. Molnar explained: “Bass levels at times caused a vibration that resulted in the camera shaking when on the tripod, so we had to come up with a rigging solution that we could quickly shoulder mount when not locked off.” Four further Blackmagic Studio Cameras were also located on the dome of the stage mounted on the lighting rigs using Manfrotto’s magic arms with a further Blackmagic products also been located at front of house. Molnar commented how useful Blackmagics’ studio cameras’ viewscreens had been during production: “As the evenings wore on, we were operating in near darkness, as any direct lighting

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EVENT FOCUS: Somerset House Series

Below: Twentyfourseven’s Director Bela Molnar set up cameras for the 11 day event. Only two cameras were manually operated, both using Blackmagic Production Camera 4Ks.

might distract the artists, and so the preview monitors on the Blackmagic Studio Camera proved a big asset to us during the shoot. At a glance, I could quickly tell whether a shot was in focus or not. Another big benefit with this live setup was the CCU like camera controls. I was able to adjust everything from the IRIS and white balance through to the colour and temperature of an image using Blackmagic’s ATEM Camera Control software.” Molnar also used a variety of lenses including a mixture of Micro Four Thirds, which gave the Twentyfourseven crew an option of power zoom via the ATEM Camera Control, and Canon glass, using the Metabones Speed Booster BMPCC to EF adaptors. All the footage from the cameras was sent via optical fibres into the vision mixer and a HyperDesk Studio broadcast desk. Molnar commented: “Each ISO camera feed was recorded onto SSD using its own HyperDeck Studio Pro, and each night we backed up all of our Hyper X SSD drives over Thunderbolt using a Blackmagic Multi Dock on to four G-Tech Studio 12 TB drives configured as a Raid, and mirrored for additional safety. A lot of this was only possible thanks to Thunderbolt 2. If we had been reliant on

other connectivity, we simply couldn’t have transferred that amount of data on a daily basis as we only had 20 SSDs, and 10 of those were for backups.” Blackmagic’s live production hardware has always afforded Molnar and the Twentyfourseven crew a great deal of flexibility. He concluded: “Even when I think back to the very first ATEM Television Studio that I used, travelling all over the world with it from one live streaming job to the next. I think back to those early days when I fell in love with the Blackmagic brand and not a lot has changed, other than the scale of my productions, which have grown significantly, and the amount of Blackmagic hardware I rely on.” Twentyfourseven Films is currently producing 11 one-hour live specials on behalf of the Somerset House Trust and the promoters who staged the whole series, Metropolis Music, for global distribution across traditional television broadcast and digital platforms. TPi Photos: Carolina Nikotian www.somersethouse.org.uk/music www.twentyfoursevenfilms.com www.blackmagicdesign.com/uk

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EVENT FOCUS: Mumford & Sons

MUMFORD & SONS AS THE BRITISH HEAVYWEIGHTS HIT THE ROAD IN SUPPORT OF THEIR THIRD STUDIO ALBUM WILDER MIND, THEY HAVE ONCE AGAIN EMPLOYED THE SERVICES OF ED WARREN TO WORK AS LIGHTING AND PRODUCTION MANAGER. Despite only getting together in 2007, Mumford & Sons have rapidly become a household name - barely taking a break from the road in eight years. It was in 2010 when friend of the band Ed Warren was first approached to design the lighting for an upcoming tour and since then he has become a mainstay of the Mumford crew. With a fresh album and a new tour, Warren got to work developing a captivating new design. According to the LD, this involved becoming completely immersed in the music and even listening to the record in his sleep: “Designing is a very fluid process for me,” he explained. “I don’t force it. When I’ve visualised my first thoughts and I feel like I’m in the right zone, the concept starts to take shape.” After the initial concept stage, where Warren presented his ideas to the band using 26

mood boards, he submitted his design to UK rental company Neg Earth including a product specification list. The suggestion came from Caroline Beverly, Project Manager at Neg Earth, to use the new VDO Sceptrons from Martin

Sceptrons do just that, even in sunshine.” The VDO Sceptrons played a leading role in Warren’s design as they framed the stage and trusses. The fixtures were mounted onto the downstage edges, the two risers and along the

“The VDO Sceptrons were perfect for what we wanted to do. I needed fixtures with a good colour output and brightness.” Ed Warren, Lighting and Production Manager. Professional as an alternative to the fixtures specified. Speaking about the fixtures Warren explained: “The VDO Sceptrons were perfect for what we wanted to do. As some of the concerts happen during daylight, I needed fixtures with a good colour output and brightness. The

vertical lines of 10 towers upstage. Side trusses and three U-shaped trusses above the band were also lined with VDO Sceptrons, adding a futuristic look to the show. Although capable of displaying video content, Warren used the VDO

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EVENT FOCUS: Mumford & Sons

Opposite: Side trusses and three U-shaped trusses above the band were lined with VDO Sceptrons, adding a futuristic look to the show. Below: Ed Warren once again took up the mantle of Lighting and Production manager for Mumford & Sons’ recent tour supporting their new album, Wilder Mind.

Sceptrons in simple RGB mode on four channels. This design ended up suiting Mumford & Sons very well. The VDO Sceptrons and the Martin Professional MAC Quantum Washes were mixed in with older fixtures, comparable to the band’s traditional vibe from previous albums and their new, rockier synthbased material. Warren, as their LD, had a very specific philosophy when it came to creating an experience for the audience and giving them something different to what they are used to seeing. He elaborated: “The art of lighting design is to support and reflect what the band

is trying to evoke with their music without distracting from it. You want to complement the music and stir the audience as much as possible, but you need to respect that people have come to see the band - not necessarily the light, strobe or laser show.” The VDO Sceptrons support Warren’s approach to lighting design as they add both depth and dimensionality to the stage. This way, the stage jumped out spatially and was not just a flat object at one end of the venue. Also on tour with Warren and Mumford & Sons are 16 Martin Professional MAC Quantum Washes that Warren uses to backlight the band, the stage and light through

the open risers. Warren concluded: “They’re great lights! They do the trick, and just like the Sceptrons they perform very well and stand up against daylight with great colours.” With a packed schedule till the end of 2016 Warren plans to continue to develop his ideas for the vast, international Mumford & Sons’ fan base TPi Photos: Ty Johnson www.mumfordandsons.com www.martin.com www.negearth.com

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Alike for ease. Distinct to suit.

Both the D20 and D80 are controlled by intuitive user interfaces and incorporate four truly independent channels. Each provides extensive DSP capabilities for comprehensive loudspeaker management, switchable filter functions, two 16-band equalizers and up to 10 seconds of delay. Two amplifiers, alike in form and functionality but distinct in power output: D20 for small to mid sized applications, D80 for up to large scale needs.

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16/09/2015 11:38

EVENT FOCUS: Sel

SEL: LIVE IN LITHUANIA WITH POWERSOFT DETERMINED TO CREATE THE BEST PRO AUDIO INVENTORY IN THE COUNTRY, LITHUANIAN AUDIO ENGINEERS AND RENTAL STAGING SPECIALISTS NO NOISE HAVE INVESTED HEAVILY IN POWERSOFT’S NEW X8 PLATFORM WHICH WAS SUPPLIED FOR HIP HOP / ROCK ACT SEL’S LATEST 360o CONCERT. According to NO NOISE Creative Director, Lina Stanisauskaite: “We knew Powersoft is a reliable company and the X8‘s specifications spoke for themselves. There was no better way to take the plunge.” The company was soon out supporting one of the country’s most popular artists, Sel, one of their long-term accounts, building to a massive 4 July concert in front of 12,000 people in Klaipeda. NO NOISE takes its product acquisition seriously and had been carefully investigating the possibility of different solutions to drive different parts of their Amate Audio PA system - including Powersoft’s K20 for the subwoofers. It was while conducting further research into K20 that they saw the X Series amplifiers on the 30

Powersoft website. “We quickly realised that this the product we had always been waiting for,” exclaimed Stanisauskaite.

parts of the system - from two by 18-inch subwoofers, line array and small eight-inch frontfill speakers,” she said.

“Before the X series, we did not like Class D products no matter who the manufacturer was, but with the X8, Powersoft has started a revolution.” NO NOISE Creative Director, Lina Stanisauskaite As a relatively young company, NO NOISE’S vision was to have universal amplifiers which would be suitable for any product. “We envisaged the X8 would be suitable for all

“All our systems are working on DANTE, and X Series not only had the DANTE support, but powerful DSP with FIR filters and the threephase power supply.“

EVENT FOCUS: Sel

Below: As audio engineers, NO NOISE have a commitment to satisfy the highest technical requirements of popular live act Sel, whose noteriety goes back almost 20 years.

However, before making an initial commitment for seven amplifiers (which has since been increased to nine) the company needed the reassurance of technical support. “Powersoft kept its promise,” reported Stanisauskaite, “and we are very happy with the training given by Luigi [Chelli].” As audio engineers, NO NOISE also had a commitment to satisfying the highest technical requirements of Sel, whose career extends back nearly 20 years. Based on drums, bass, guitar,

saxophone, and backing vocals, Stanisauskaite noted that, while full range is important, the artist’s intros are dominated by low frequencies, and NO NOISE’s goal is to get eight Powersoft M-Force driven subwoofers developed by next summer for this purpose. Summing up, Stanisauskaite said NO NOISE could not be happier with their latest investment. “We are very happy and proud (to be Powersoft adopters]. Now we wonder how was it even possible to work with other amps?”

Explaining this statement she added: “Before the X series, we did not like Class D products no matter who the manufacturer was. But with the X8, Powersoft has started a revolution. “We compared it with [leading brand] analogue amps but the X8 delivered the best sound. The size, power and weight ratio is amazing!” TPi Photos: Zygintas Jurevicius www.mxl.lt/sel www.powersoft-audio.com

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EVENT FOCUS: Shawshank Redemption

SHAWSHANK REDEMPTION: THE THEATRE TOUR WHITE LIGHT SERVES ITS TIME ON THE THEATRE ADAPTATION OF THE FAMOUS FILM FOR A UK TOUR, ALL UNDER THE WATCHFUL EYE OF PRODUCTION COMPANY BILL KENWRIGHT. Upon its initial release in 1994, The Shawkshank Redemption achieved critical acclaim and is still considered by many critics to be one of the greatest films ever made. It was even made official in the UK earlier this year when it was named as The Nation’s Favourite Film in a YouGov survey. Now, on the film’s 21st anniversary, renowned production company Bill Kenwright is touring a theatrical version of the film across the UK. As the leading lighting supplier to West End and touring theatre, White Light was called upon to supply lighting support for what promised to be a spectacular production. The play opened in Windsor and began its UK Tour the week after, visiting venues in Leeds, Brighton, Richmond, Birmingham, Aberdeen, Newcastle, Norwich, Cheltenham, Woking, Milton Keynes and Cardiff. Starring television’s Ian Kelsey and Patrick Robinson, The Shawshank Redemption tells the story of Andy Dufresne, a man serving a life sentence in the notorious 34

Shawshank prison. Realising he cannot survive life behind bars, he strikes up an unlikely friendship with prison fixer Red and soon begins to hatch a plan to escape. Based on the Stephen King short story, it was directed for the stage by David Esbjornson with the Lighting Design by Chris Davey. Davey commented: “Shawshank is a male-dominated, testosterone world. Yet there are moments of true friendship and poetic beauty. Gary McCann, the Set Designer, has created a world in which the jail consists of towering, oppressive cells and windows, yet with masses of texture to the walls. The overall layout allows for lots of space for cross light so I aimed to be as sculptural as possible with my design.” Davey drew on White Light’s extensive equipment range to help him illuminate the world of The Shawshank Redemption. He commented: “The load-in for the show is one day for each venue so I had to use the most effective and efficient equipment possible.

Fortunately, White Light provided this for me.” The equipment used included Martin Professional MAC Viper Performances and MAC TW1 80v as well as Phillips Showline SL PAR 150s. Davey explained how he utilised the fixtures: “I used the Vipers for a hard edge feel to help define the prison cells and amplify the intense moments in the play. Similarly, the SL PAR 150s allowed for live colour changes during scenes which were ideal for time shifts.” White Light’s Moving Light Hire Manager Rachel Gale said: “As with any piece of theatre we work on, the equipment we provide plays an important role in the show. It helps to create different worlds, intensify scenes and hopefully elevate the overall production.” The Shawshank Redemption differs from the majority of theatre tours, due to the fact that it is based on such an iconic film. Davey explained: “There are a lot of expectations from creating such a significant film on stage. However, we feel that this production stands

EVENT FOCUS: Shawshank Redemption

Below: The Shawshank Redemption theatre adaptation is touring all over the UK, providing audiences with a fresh take on the famous story about an unlikely friendship behind bars.

alone, largely due to the adaptation coming more from the Stephen King story. There are some really touching moments in the piece, and we have utilised the lighting to help really bring these to life and maximise the impact they have on those watching.” Gale added: “The Shawshank Redemption is a hugely popular film and many audience members will have an immediate connection to it. This production has provided us with a fantastic opportunity to help bring such a well-known and loved story to audiences all across the UK.” With the show having now opened, it marks a further example of White Light’s position as the leading lighting supplier to theatre throughout the UK. Gale concluded: “Whether it’s a production in the West End, a theatre tour, a show at the Edinburgh Fringe or a piece of immersive theatre, we always ensure that we provide the best equipment and service to our clients, whatever the production.” Davey added: “It’s clear as to why White Light is the leader of the lighting industry. It is competitive, helpful and extremely reliable. You can always depend on White Light with something that is vital and on a large-scale tour such as this.” TPi Photos: Mark Yeoman www.kenwright.com www.whitelight.ltd.uk

PRODUCTION PROFILE: Festival No. 6

FESTIVAL No. 6

A FESTIVAL LIKE NO OTHER... TPi’S KELLY MURRAY SPEAKS TO THE PEOPLE AND COMPANIES THAT ENABLE THIS LIVE EVENT WONDERLAND TO FLOURISH, PLUS WE LEARN ABOUT THE THEATRICAL INTENT BEHIND GRACE JONES’ HEADLINE FINALE.

PRODUCTION PROFILE: Festival No. 6

Photos: Andrew Whitton and Scott Salt 37

PRODUCTION PROFILE: Festival No.6

{GROUND CONTROL}

RYAN ESSON In his fourth year at Festival No. 6, TPi spoke to Production Manager Ryan Esson about how the festival has developed and who he couldn’t run the show without... STAGING “With the level of artists that we’ve started booking over the last two years, it was obvious that in order to support the production needs of headline acts such as the Pet Shop Boys last year and Grace Jones this year, we had to facilitate the kind of production these acts expect and require. That is why we moved from a big top tent for the main stage to the outdoor roof structure from Serious Stages. “The first two years, providing headline bands like the Manic Street Preachers or New Order with a tent certainly had its limitations. The capacity was limited too but this outdoor stage has given us that signature look; it’s quintessential for visual stature if you’re trying to book these high calibre artists. Serious Stages have allowed it to get a lot better on a lot of levels really. “In other areas, the festival is so rich in content that we can now put performances almost everywhere. From the big live acts to spoken word performances or collaborative

interviews, we have just grown and grown and now have 17 performance areas.” BIGGER AUDIENCES “For the first time ever, we have sold 15,000 tickets. We’ve always had the capacity for 15,000 but given that we’re not dealing with fields next to a big city where you can continue expanding, it’s always been really difficult looking at how to maximise up to that number. We’ve always petered around the 8,000 to 10,000 mark for the last few years. “The idea is that is a commercial festival needs to grow and start to support itself financially, so we had a complete re-design of the camping layouts this year and really pushed the festival out into other areas that are not viable for camping. We’ve now got 200 bell tents in the boutique camping area which is a huge number for a festival of this size. As a result, it’s really unlocked the maximum potential of what we can do here. We work really closely with Portmerrion throughout the year as an attraction and they’ve really helped us in terms of changing the infrastructure. “There is a security presence on site more than ever because of the increased numbers and we work with two companies: Corvus which is a local Welsh security supplier and FGH which is based in Lancaster. A big selling

point of FN6 is its atmosphere though, so what we don’t want is to have an overload of heavy handed, high-vis security personnel in place. Obviously we need to have an ample staff presence, but our crowds understand the mentality of this festival. A NEW ELEMENT “This festival is so difficult logistically, especially with the increased capacity, that we have to deal with some vehicle restrictions; just getting an artist on and off site again is quite hard. We have over 3,000 artist and artist-related people that all need ferrying around. We have worked well in the past with artist liaison teams but it’s always been an ambition of mine to have a fully integrated artist liaison operation within the production department because those two departments need to work seamlessly. “Throughout the advance process, I recruited a new company called GoTo Live, which is based in London. We have worked together from day one since the advance of FN6. It’s so challenging with such a different range of artists and performers to deal with all the logistics and deal with all the performance requirements and riders that integrating it was the only logical way to make sure we could be as effective as possible due to our growth. “I have never worked on an event where there has been so many compliments about how sort of in sync and how everyone was so on point with everything. They are really switched on and how to knit such a complicated task together, but they’ve nailed it. FN6 is essentially a melting pot of crazy programing but everyone pulls together.” KEY PLAYERS “I couldn’t do this without my whole team behind me. In particular, Dan Jones who is the best Production Office Manager I have ever worked with. Wherever I can, I’ll have him on every show I do. He does everything with a smile on his face and gets the job done effortlessly. He’s sassy and he keeps everyone - including myself - in check. He’s the boss really! “Charlotte Denton is my other right hand. She looks after all of the productions in the woods and is there to support me through the advance process. She manages all of the finance and organisation of accommodation. Basically the nitty gritty things that are really important to people that I don’t necessarily have time to do, so she’s got a really important skill set that she brings to the table.” http://festivalnumber6.com

PRODUCTION PROFILE: Festival No.6

{GROUND CONTROL} INTRODUCING... THE TPi AWARDS NEW PM, RYAN ESSON He said: “I like a challenge, I like to push myself. I’m sure it will be great, and I’m looking forward to it. It is going to be a different sort of challenge to what I’m used to but it will be great to work with TPi more closely. We’re like family now!” Audile’s Rob Ashworth added: “It’s a brave move on his part; the TPi Awards happen in front of the whole industry. If you look at the suppliers over the years, you’ve got to be pretty confident in what you’re doing, same goes for the production manager. The thing about Ryan is that he is hungry for knowledge and he will ask other people’s opinions and take them on board. “He’s come into the industry as a relatively young production manager and when that’s the case, people either want to prove themselves by laying down the law or work how Ryan does and ask advice when needed and take it on board. We have a great working relationship with him because of that. I think Ryan will do a good job for you.” We’ll see you there folks! www.tpiawards.com

DAN JONES Office wizard and Grace Jones fan Dan Jones has been working with production company Ground Control over the last couple of years, after honing his slick organisational skills on events such as Yorkshire’s independent music festival, Beacons, for which he was the Event Manager over a four year period. With expertise in all things live event from licensing consultancy, to event crowd management advisory and production office services, Jones has become the go-to man on the ground - quite literally encompassing the term ground control - for PM Ryan Esson. “Anything and everything relating to a stage goes through our office before it goes to the technical production team,” explained Jones, or Mr Sassy Pants if you’re reading his personalised radio, which we definitely are. “Once the gigs are live, and everything is in full swing, I then become the trouble shooting hub, which as with any festival or live event teams knows, there is a constant stream of!” This means that Jones and his team goes from pro-active to responsive in order to deal with any given situation. “We oversee the load out and deal with everything from tour bus parking to truck logistics, making sure people are where they need to be and that the site has clearance so it all runs safely and smoothly. “Because we have such limited space on site, the biggest challenge is the logistics with vehicles. It’s actually a listed site, and

we have to protective of that. It was never intended to be a music festival location, so we’re very lucky that we can hold it here, but at the same time, we have to be a respectful and responsible production team. “In the advance, we have to make sure our production schedule is as tight as possible throughout because there’s only one way in and one way out of this site. We’ve sold an extra 5,000 tickets this year, but it’s not like we can add another couple of fields to accommodate that, therefore the traffic management has to be perfect. I’ve actually seen FN6 from two different sides, because I was working on the safety team in 2013, and this is very different because I get to see every aspect now. “In my portfolio of 10 live events a year, this is my favourite. This year I loved Grace Jones’ set, she was my musical highlight. I thought the production was amazing. It’s moments when you’re watching a star like that when you realise what you’re actually doing, and what you’re helping to put together for all the fans. Seeing her pyrotechnics, confetti cannons and the lighting show was so satisfying, it all worked out perfectly from where I was stood. “The other highlight from FN6 is the team, we’ve all worked on Parklife, Snowbombing and now FN6 together so we all help each other out and identify each other’s strengths and weaknesses. We’re multi-skilled in various areas which means that we have an understanding of what’s going on in other areas and that’s what helps us to run festivals so smoothly.”

PRODUCTION PROFILE: Festival No.6

{GROUND CONTROL} CHARLOTTE DENTON “Having a festival site with 17 stages which are quite spread out means that it needs to run like a tight ship. This year we’ve improved the resourcing of the festival with the staff, and with the area managers because Ryan and I can’t be out and around the festival all of the time,” said Denton. Besides helping with the advance of the festival, Denton is also the Production Manager for the wood performance areas, a whole world in itself, allowing for a total contrast to the main arena. “I think people actually underestimate the size of the woods and the amount of activity that goes on in them. It’s a really special area because you can kind of get lost in the there throughout the day and come across areas that are completely different to each other. It’s like a whole new experience one after the other in this amazing setting. You wouldn’t be able to see everything in the whole weekend, there’s too much to get to!

Gawen Higgins is the programmer for the woods various activities and he chooses lots of different things, for all kinds of audiences. “It’s not just music stages; we have loads of different activities, such as slack lining workshops and children’s den building. We also have the Northwest Wildlife Trust doing seafront safari walks. You can get so close to nature at this festival. Some of the things I do here, I never imagined myself doing.” Like what? “Like going on site visits around the woods discussing specific tree moss and why it’s good for the aerial performances!” Denton also relishes working at FN6: “It’s the most challenging festival I work on by a long way because of the location and the logistics. We always try to achieve the impossible but it always seems to pay off in the end. You can’t really describe how technically intricate and different this production is until you get here. You can look at photos but the emotions that it conjures up is just something so special.”

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PRODUCTION PROFILE: Festival No.6

{AUDILE}

www.audile.co.uk

ROB ASHWORTH “Audile has been involved with FN6 since the very beginning. There was a big step up in production last year, and this has carried forward with some refinement to last year’s successful formula”, Audile Project Manager, Rob Ashworth told TPi. As with many outdoor events, FN6 has encountered some noise complaints from local residents in the past, but Audile has worked with the festival and their acoustic consultants to address these concerns, and together the team have now successfully managed a complaint free festival - a triumph by anyone’s standards. “It’s beautiful down on the estuary where two of our stages are sited - and very popular with the audience - but there are also noise sensitive residences on the other side of the water and we have to be very conscious of that. Three years ago there were some serious noise issues, but a new noise management plan was developed, resulting in the outcome that everyone wanted. “Aria Acoustics have handled noise management for the last couple of years, and I don’t think there has been a single complaint in this time.

The festival has a community response team too, who are out there reassuring the residents and responding to any issues. That makes a huge difference, I think - it’s all about building relationships,” he noted. “This year we are supplying three venues in the main field - the Main Stage, the iStage - which becomes the Late Night Pavilion after 10pm - and the Clough Stage, which becomes Studio Number 6 at night. We also supply the Gatehouse, the Estuary Stage and

{STS TOURING} CHRIS OLIVER & DAN MCKAY “Just getting the gear to the stages is quite a challenge here,” laughed Backline Tech Chris Oliver, who is experiencing his first year at FN6. “It’s not a conventional festival set up with field with various stages dotted around each side - at the Lost in the Woods area for example, it’s up a massive hill so you’ve got to reverse up it because there is no way of doing a three point turn up there. It gets interesting!” Joined by Backline Tech Dan Mckay, STS Touring is supplying a total of nine stages, each with the same backline package comprising drums, bass amps and guitar amps, keyboard stands and drum carpets. “We’re using Premier, Pearl and Yamaha drum kits, Ampeg bass amps and Marshall, Fender and Vox guitar

amps,” noted Mckay. “It’s a very different festival than any other I have worked on, mainly because of the setting and the vibes - it’s so chilled out. I’ve worked at FN6 a couple of times and unlike other festivals where there’s lots of crowds and rowdy drinking over a period of days, I’ve still never seen any kind of violence. It’s like a very cultured, serene way to end the summer.” Added Oliver: “I’ve been really impressed with my first time here, the production team have been great, the bands are happy to be here and as this is a festival I really wanted to come to anyway, I was over the moon about being asked to tech this one.” www.ststouring.co.uk

the Stone Boat area. We’re using our key audio brands across all the stages: d&b audiotechnik, Funktion One, Avid, Yamaha and Midas. Lighting-wise our key brands are Clay Paky, Robe, Martin Professional, Avolites and Chamsys. All of the touring engineers have been very happy with those arrangements. “It’s all gone very well again this year, and Ryan has done a great job managing the production. He’s very capable for someone of his age,” added Ashworth.

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PRODUCTION PROFILE: Festival No.6

{GO TO LIVE} JESS WEBB & IZZY LO LACONO An exciting new part of the FN6 production is the addition of artist liaison company, GoTo Live, a brand new venture which aims to enhance the smooth running of the production team as artists arrive on site. Heading up the GoTo Live team are project managers Jess Webb and Izzy Lo Lacono. “I studied Events Management and the first real experience I had was working as an artist liason runner at Parklife festival. From then on I started to volunteer at Kendal Calling and the WHP. This progressed to more live shows year on year and I ended up falling in love with the live events sector of the industry. I’ve always straddled between production and artist liason roles as well as working from the promoter angle full time. I did an internship with Kendal Calling during my final year of university. After getting my degree I was offered a full time role. I stayed for a year before moving to London to work for The Great Escape festival & MAMA Group as their Event Executive.” Lo Lacono started her career in the music industry in Sydney, promoting club nights before moving back to her native New Zealand to study at the Music and Audio Institute of NZ. “I interned for Rhythm Group for a few months before they offered me a full time role. They ran two large festivals, Rhythm & Vines in Gisborne and Rhythm & Alps in Wanaka. My role varied across programming, artist liaison and touring. I managed all 24 tours that the company did annually. Being in NZ meant I was fortunate to be able to work on festival tours in Australia like Stereosonic and Future Music. “To really progress in my career, it made sense to make the move to Europe. Last season I freelanced on festivals until October, where I then had the opportunity to relocate to Thailand to work on Wonderfruit Festival as the Artist Liaison Manager. In January of this year I also began full time at the MAMA Group to work in programming and assist the two head bookers across all festivals. This season has been a juggle between MAMA Festivals and freelance work I have been offered, but I wouldn’t have it any other way!” The pair met while working on Parklife festival in 2014, before being reunited at MAMA Group. “After working together for a few months, we realised how well we work together and other people began to notice too. Our own business has been building ever since,” added Webb. “We wanted to encompass the production and artist liaison departments of live events. After many moans and groans to each other about events we were working on that weren’t getting what we needed right, we decided to show people

how its done! Our experience has flagged up the missing links in live events. Both production and artist liaison sit in between the client and the artist, with the aim to keep both sides happy. Its essential that both teams work closely and harmoniously to produce an amazing event for all involved.” Gathering their combined experience in production, artist liaison, event management and touring, the GoTo Live team is able to offer full service solutions. “The whole team is built of people with a special skill set, and we tailor the person to the job to make sure the level of service is always 100% on point for the client. FN6 was the most exciting festival for us this summer. The bridge of headline music performers coupled with headline acts for the arts & culture programming meant that there was a challenge of keeping all acts happy. We were totally trusted by organisers Broadwick Live to carry out this challenge and the result was fantastic!” continued Webb. “We had the most amazing team this year, true grafters who are so passionate about their industry. As good as the advance may be, your team are only as good as the tools you give them. We have staff briefings pre-show, morning catch-ups and debriefs when they finish their shift to see how we can improve things the next day for both the worker and the artists. Having both worked on events where staff welfare and information sharing is often a second thought, that’s something we want GoTo Live to be famous for - looking after our staff and creating a great team atmosphere, everywhere we work.” This ethos is also being carried out in a hands-on opportunities, just as the duo were given at the start of their careers. “We always take a handful of volunteers to work with our artist liaison reps and with

ourselves in the on-site office too. We both understand the value of real experience and we want to inspire the next generation to get involved. We’ll be bringing our volunteers back on our 2016 summer events season in paid roles because they learnt so much over the summer and smashed it!” This is no mean feat considering the festival site is somewhat remote… “The location of FN6 means we have very limited vehicle access onsite. There is limited space at the back of main stage for tour buses and no parking onsite at all. We had the challenge of keeping all artist vehicles offsite (about two miles from the festival site), yet making arrangements for them to get to site and off site smoothly and without any hiccups. We had to set up artist accreditation in two locations a few miles apart to make sure we captured all artist arrivals. Our artist accreditation team were unphased by this and communicated with each other at all times, along with our logistics manager to ensure a smooth delivery of artists onto the festival site. “We advanced the show so tightly that we had next to no rider issues! We like to tell tour managers exactly what to expect when they arrive onsite. The only issue we had was with a supplier who was meant to supply a certain female’s very expensive champagne, but they messed up the delivery address. It felt like the end of the world at the time, but luckily we had a trusted person due to arrive that day who we called upon to move heaven and earth to track down the champagne. Nobody in that artist party ever knew there was an issue. Well, until they read this!” So there you go, fear not tour managers - with GoTo Live about to create a bigger presence in live events over the coming months, you can rest assured if you’re working with them, the weird and the wonderful will always arrive on your rider.

PRODUCTION PROFILE: Festival No.6

{VIDEO DESIGN}

www.video-design.co.uk

12 channels of audio. “We had an extra challenge there because usually we only deal with video but the audio is just as important as the visual aspects for this cinema project so we had to liaise with the sound team from Encore, to make sure we got the right tools in place for the 3D soundscape work.” “As FN6 likes to celebrate all things Welsh where possible, it’s a Welsh film which has been directed by Kevin Allen, of Twin Town fame. There’s also a Welsh male voice choir singing as part of the introduction on the film, which gives it that extra interaction too,” he said. Video Design supplied two Barco FLM HD20 20,000 ANSI Video Projectors; one active and one backup and a Stumpfl 16ft by 9ft Fastfold screen. The film was played back on HDCAM SR via a Sony RHODRI SHAW SRW-5500 player. The HDCAM SR format was used to enable Shaw and his team to output 12 separate “A festival would normally bring us in to deal with AES audio outputs for the 3D Soundscape. IMAG screens and camera systems, so this project “This is my first year being involved with FN6 is something a little bit different for us,” explained as Video Design, but the company is doing really Video Design Project Manager, Rhodri Shaw. well; we’re on the Take That tour, we’ve supplied “We’re supplying a projector and screen set-up headline shows with Kasabian and we’ve been at for a special screening of the Welsh film, Under a lot of festivals this summer to supply screens, but Milk Wood. I say it’s special because it’s being FN6 is a real season highlight for me,” concluded produced with a 3D soundscape for which there’s Shaw.

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PRODUCTION PROFILE: Festival No.6

{ADLIB} JORDAN WILLIS & KENNY PERRIN A brand new supplier on board this year is Liverpool-based Adlib, which supplied both lighting and PA systems to a number of the festival’s smaller stages. “It’s always brilliant for us, being part of something new, and this brought us a fresh challenge, which is what we love at Adlib,” commented Jordan Willis, Adlib’s Head Lighting Tech, working under veteran Adlib Crew Chief, Kenny Perrin. Willis continued: “For the lighting we were given a brief to highlight the natural areas and features of Portmerrion. In the

Colonnade we used IP Rated LED washes to uplight the pillars and architectural points of the iconic central space. We also worked on the Castle Garden, The Real Ale Bar, The Town Hall, and The Virgin Village Limits Outdoor Forest Stage, lighting the stage with more IP Rated LEDs and enhancing the forest itself with HQI Floods in Virgin’s favourite colour red.” Adlib installed one of its Coda ViRAY PA systems at the central Piazza. The ViRAY system helped Perrin to fulfil PM Ryan Esson’s primary audio brief of wanting the sound to correctly service the area without allowing any big speaker stacks to impair the site’s relaxed charm. This area has a quiet, artsy-vibe with varied programming such as spoken word performances, poets, book readings and various quirky bands to choose from. Said Perrin: “The ViRAY system works brilliantly in this sort of space because of its wide dispersion pattern and extremely small footprint when ground stacked.” In the main festival arena, Adlib supplied L-Acoustics systems for the Rum Tent, which hosts dance DJs until the early hours, and the Castle Gardens,

which is essentially a pop-up tent behind the castle (an indoor bar / restaurant / hotel). A favourite with TPi was the VIP area, in which Adlib supplied another PA, bringing Motown classics to guests via a feed from the main stage. Perrin concluded: “It may seem like a small festival but it’s quite spread out, so we had a total of 13 staff dotted around the site. We were very happy to be involved and hopefully we’ll be asked back year after year!” www.adlib.co.uk

{DBN}

PETE ROBINSON “DBN did some bits and pieces around the FN6 site for the first time last year, helping Audile out to fill in where needed over the 17 stages. We’re good friends with them, so it works out well,” Said Pete Robinson of Manchester-based

DBN. “This year we’ve supplied little bits in a few more areas. We’ve done the backdrop LED screen on the main stage, the VIP area, the Rum Tent and the rigging solutions in the village and the in wood areas. The Rum Tent has a late night party atmosphere so we’ve installed a few moving lights and basic strobes into the area. “The VIP area has a Miami-kitch theme this year so there were a lot of pastel colours for the design. We put some LED uplighters and battery uplighters as well as the usual smattering of moving lights and some strips and strobes. Our rigging part is quite different; there is an old clock tower in the village that one of the festival organisers decided would be a good spot for aerial performances. Obviously a village clock tower wasn’t built for that purpose, they are built almost like a façade, being made of aesthetics rather than the necessary structural integrity. It’s very compact inside so we devised a way to get some descent anchors up there,” he

said. “Additionally, we were also asked very last minute to rig a giant mirror ball above a floating stage. We did some tree climbing and worked out a three-legged bridal from high up in the trees to hang the mirror ball right above the floating stage. It’s actually pretty lightweight - around 15kgs and is less than metre wide. I think the rigging we put up there is heavier than the ball itself! “It went in relatively easily and it was fun to do. That’s the thing with these quirky or weird scenarios on a festival like this, it’s much more entertaining than doing run of the mill jobs. FN6 is just full of bizarre and interesting little jobs in weird locations. I really hope that it maintains its vision in the future.” www.dbn.co.uk

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PRODUCTION PROFILE: Festival No.6

{GRACE JONES’ CREW}

GRACE JONES’ PRODUCTION MANAGER “Coming into FN6 with a headliner, my first impressions are that this is as smooth as it gets. Fortunately, I had the opportunity to work with the festival’s Production Manger, Ryan Esson, earlier this year at Parklife. It’s been really great to already have a relationship with a production manager who knows our show and technical requirements, plus all the other details that we require for a festival. He was able to ensure that we were ahead of our needs and that we could ask for anything,” enthused Kamal Ackarie, Grace Jones’ Production Manager. THE CREW “I was brought in as part of her crew as I have a 30-year background in theatrical staging. Grace’s shows are staged in the way a dramaturge would place a performer on a stage to tell a story. Her multiple costume changes come to the credit of Jane Dickerson who also joins us with 30 years of theatrical experience as a costume supervisor - her quick changes are a show in themselves! They allow Grace to work with characterisation and bring her music and stories out onto the stage with depth. “In terms of the production, you can expect an incredibly slick, high-standard show which in many ways seems flawless but it is delivered to you by what I think is an incredible band and a very astute and cohesive backline and FOH crew. They are all very respectful of each other’s areas - even more so during festival sets - and allow each other to get their work done, while working as a team. “Technically and show-wise, and this is what I love about working for Grace, because of my theatre background, is that she draws references from all sorts of theatrical language. In the audience, you get a lot of 48

the influences of stagecraft and that’s what makes us so distinctly unique from other very loud, outward facing shows. Grace works very closely with exact detail, so she works with me in production and enables us to achieve the standards that she wants. If she comes to us with crazy ideas, then we deliver them for her. “In terms of live sound, the band have been playing with each other for years. I have been listening to the show every night on this festival run, and there are times when it just takes off in a complete other direction. They have room to move and bring their own musicianship into the mix so we end up with a lot of detail which is just beautiful to hear. The sound is so much of her signature, and that’s why Grace needs a very dynamic and creative live band. “Importantly, this year we brought in Mike Gunning who is a very well known West End theatre lighting designer. He’s moved away from that rock ‘n’ roll aesthetic of lighting. So again, we’re using a more theatrical language with light to tell a consistent story. This is his first venture in to large scale touring music and he brings to the stage a very precise and intimate design which creates the drama and depth of field that allows Grace to work in a vary intimate way on a large festival stage. “We have people in their 60s who were fans in the disco years, we have teenagers who have come in off the back of the Hurricane album and Grace’s film work and modelling days also bring in a variety of fans. It’s a really wonderful mix and I know Grace feeds off of that.” THE SHOW “We are in this huge field with thousands of people, and yet you have these moments of true intimacy with the audience, which you could never achieve, when everything is kicking off with an overload of effects. People’s aesthetic from theatre are much more about the end result in terms of what your eyes see rather then what the unit is capable of doing. “The show does not aim to amaze, startle or impress by placing the audience in awe of a spectacle of light, sound and stage engineering, yet does so to great affect by creating a simple focus driven by the artist. “What I love the very most about Grace - and there is so much to love - is the way she values and appreciates her crew. We are all in this together, working towards a common goal so she has awareness and an appreciation for everyone around her.”

GRACE JONES’ LIGHTING DESIGNER “I come from a background of theatre, opera and dance. Four years ago I got a call from Grace asking if I could produce a more theatrical look for her because she is like an actress on stage. I’m a creative so I work with a lighting programmer called Stu Feral who enables all of my ideas. Grace tends to alter her sets and her movement on stage throughout the performance though so we do a lot of it live. “Festivals are a compromise between all the bands that are playing that day, and you have to work with the rig provided and not just the rig that is provided for your party. You work your way around that and try to create a focus for her on stage, then layer on top of it. If she doesn’t like something though, she will tell me, I can assure you! But because she has directly asked me to work with her, we have a good relationship. We look at the set lists together and work out the narrative behind everything.” “There are extra special effects that are being layered on for tonight because it’s the finale. We have some of her usual special effects but the show now has another dimension, which is a reference to The Prisoner. We want to close the show in a way that the audience will like. A brilliant thing about Grace is that she knows how to handle an audience; she is a true performer, she is not just a musician. “I loved the FN6 experience. I think the staff were really helpful; they’ve basically bent over backwards to provide us with what ever we need - I’ve never encountered such a friendly, open, welcoming reception at a festival site.”

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PRODUCTION PROFILE: Creamfields

CREAMFIELDS HELD OVER AN ANNUAL BANK HOLIDAY, THE FESTIVAL HAS BECOME THE UK’S PREMIER ELECTRONIC MUSIC EVENT. ATTRACTING A SELL-OUT AUDIENCE OF 70,000 PEOPLE, WITH AN EXTRA 5,000 TICKETS BEING ADDED EACH YEAR, THE ONUS IS NOW ON THE ORGANISERS TO STRIVE FOR BIGGER AND BETTER. TPi’s STE DURHAM GOES BEHIND THE SCENES AT THE DARESBURY ESTATE SITE. With growing competition from EDM events around the world, and heightening expectations from fans, Creamfields organiser LarMac Live has once again taken the festival’s level of production to new heights. Ian Greenway, Production Manager for LarMac Live, explained: “On stage, there is world-class talent coming through, but that talent relies on a stonking show. This event isn’t necessarily about six people on stage playing a decades-long catalogue of hits, it’s about one guy who has to captivate the crowd. On the main stages these guys have 800 sq metres of screen and 500 or 600 moving lights above them. We are having to turn these festival stages into really big production pieces now.” This year in particular, Creamfields has invested a great deal of time working out how best to make use of video screens. As most of the DJs tend to travel light with just a tour 50

manager, VJ and themselves, many can afford to spend large sums of money on bespoke visual content. This method it also efficient because the content can be pixel mapped, stored on a hard drive and played out on the gear that is already on site. Greenway continued: “These guys have all invested in creating visually different shows. We want to make sure our stages have different identities, and nurturing the artists’ creativity is a good way of doing that. The other festivals that we compete with have a narrative or a standard theme in the design that stays there all weekend and everyone has to play in front of it. This doesn’t work for us because we want to present different production approaches over the course of the weekend. “We have supplied almost all the gear for the 120 artists that are coming here - I think we are only receiving gear from two of them. Ideally, we want to bring in that artist influence but also

carve an identity of our own. It’s efficient, its impactful and its what the crowd have come to expect.” Historically, the outdoor stages at Creamfields hosted incoming shows, while the arenas stayed as in-house productions. This has changed in the last three years due, in part, to the way in which the genre has evolved. DJs now have the power to have Production Managers, Creative Directors, Video Directors and a full team of creatives behind them to help put on festival shows. Greenway explained: “EDM has grown up and is better resourced, and we see that on a nuts and bolts level. Production experts are coming through from the rock and roll industry who are actually doing more EDM now. The genre has grown up and expectation has grown up along with it. That is what is keeping it buoyant at the moment, and it ensures that the genre is going in the right direction, from a

PRODUCTION PROFILE: Creamfields

Below: Acts who plied their trade in daylight, such as Kygo, still made heavy use of the mammoth video wings on the North Stage.

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production standpoint at least.” The main action of the festival takes place on the two outdoor main stages and a number of tented arenas, varying in size and shape. The arenas have different artists, companies or brands hosting each night and, as a result, bring with them their own individual atmosphere and identity. Greenway explained how he learned years ago that having just one company on site to cover lighting or audio across so many stages is doomed to at least cause problems. He added: “We will never have a music festival where one company will do the lights or audio across all the stages - it is tried and tested and just doesn’t work. We split the arenas into one-stop shops, and the two outdoor stages are dealt with in much the same way as traditional festival stages.” The five arenas are managed by one supplier, and the two outdoor stages are managed by PRG for lighting, Britannia Row for audio and XL Video for video (the only common presence across every stage on site). This spread of suppliers and crew allows Creamfields to be prepared for anything and, concordantly, to act as a tabula rasa for the incoming artists to put on their own, distinct productions. While this freedom makes Creamfields a Mecca for visionary DJs, it can also mean that the organisers have to deal with an influx of requests, even as deadlines loom. “A truth of EDM is that these guys are always focussed on ‘the next show’. They are doing six or seven shows a week and private jetting across the world, so a lot of their requests come in late. We try to get designs and approvals done really early just to allow a more thorough advance - but we still get hit late. After the

seven-day countdown begins we get all sorts of crazy requests.” The fact that Creamfields also falls on a Bank Holiday weekend in England is yet another challenge, but Greenway maintains that the festival survives through its suppliers. In short, the broad spread of companies allows LarMac to hedge its bets slightly. It also ensures that there is always enough gear onsite for every eventuality and a big enough network to tap into - as and when the curveballs begin to fly. Despite these challenges, Greenway and the rest of his team already have one eye on Creamfields 2016. He said: “We are already talking about stage concepts for next year. It is very talent-led, and they want more interesting stages. We pushed this year with main stages, as well as with the CF03 and CF05 stages, and I think we are going to try and bed in a Creamfields presence across all the venues. “When Cream announces a new venue design on Facebook, thousands of people watch the video and comment. They are so into it and that is the thing that gets us through. It’s a real snowball effect and that same level of expectation filters right down from the fans, through us, to the suppliers. The more teaser content on social media from Cream, the more insight I have on what the public actually wants. Then my team can design something that’s relevant and feasible.” AN ARTIST’S PLAYGROUND Poduction Resource Group (PRG) provided both the rigging and lighting crews for the North and South main outdoor stages. Lighting Programmer and Project Manager for PRG UK, Gordon Torrington, was tasked with helping to light them.

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PRODUCTION PROFILE: Creamfields

Below: The team from XL Video; PRG’s Gordon Torrington; LarMac Live’s Ian Greenway; The crew made sure headliners like Avicii were allowed to use their full production specs.

He said: “We worked very closely with XL Video on the design and how everything will fit together, which is useful as we are now part of the same company. We work together from start to finish, otherwise it would be impossible to make something of this scale work.” The relative ease of PRG’s load in and set up was thanks, in part, to the uncharacteristic mercy shown by the rain gods of the North West. Torrington explained that the site could potentially become problematic if the weather was to turn. He laughed: “Other festivals have had real rain issues recently and I’m stood here with a sunburnt head - we can’t believe our luck!” Saturday’s North Stage headliners, The Chemical Brothers, used the lighting rig from PRG out in the wings and in the audience, as well as their own touring package. Rather than doing a complete overhaul for Sunday’s headliner, Hardwell, the changes were limited to a few slight alterations in the PRG lighting configuration. Although more drastic changes had to be made to the video and lighting rigs between Avicii’s and Tiesto’s respective Saturday and Sunday headline slots on the South Stage, Torrington maintained that the workload was still manageable. While the decision to focus on lighting and video came from the organisers, the choice was necessitated by the idiosyncrasies of electronic music performance itself. Torrington explained: “DJs have different needs to pop artists and, as a result, you have got to create something spectacular. You see so many similar festivals like Electric Daisy Carnival 52

and Tomorrowland with big, structural sets and, while this is a great way of doing things, it makes it very difficult to change the show from artist to artist. Artists can get the content they want and almost have their own show every time here.” With a number of electronic acts bringing their own VJs to such events, Torrington claimed that the Creamfields stage design allows them more opportunity to flex their creative muscles than other festivals. According to Torrington, it is Greenway and LarMac Live who the acts can thank for this artistic freedom. He said: “Ian has quite an interest in screen design and it was pretty much his idea to be honest! He is very production-driven and decides what a lot of this design is. The scale of the festival is immense and the video rig is surely one of the largest out there.” In addition to the abundance of video, the lighting rig is not to be sniffed at either. In particular, the Clay Paky Sharpy count is high, partly due to the fact that its beam is renowned for cutting through effectively even in the daylight - a necessity for these visually heavy productions. Although the numbers varied throughout the festival, there were 175 Sharpys present on the South Stage on Saturday afternoon, while the count on the North Stage ran as high as 403 during the weekend. As Torrington quite succinctly put it: “How many more can there be in the country!?” Other specialist “toys” were available for some of the DJs like the Ayrton MagicPanels and MagicBlades, as well as PRG’s own Best Boy spotlight.

THE COMMON THREAD As the only constant over all of the stages at the festival, XL Video had a wide variety of responsibilities. Although 2015 was not XL Video’s first year on the Creamfields site, the company upped its game across the board with a 10% increase in screen size on the main stages and a 20 - 30% increase in the amount of pixels. Paul ‘Macca’ McCauley, Project Manager at XL Video, said: “Essentially, better resolution means better-looking content. In the tents, we probably have a good 10 - 20% more screen. We have got a lot of gear out elsewhere on the site as well, so the weekend was a bit of a challenge. Luckily, we’ve more stock than most people give us credit for. All told we only had to sub in around 80 sq ft of the 2,500 sq ft of screen we have on site.” According to Macca, flying the screens around the site was “relatively easy” but it took the combined effort of the 27 XL Video crewmembers, along with help from Acorn and PRG, to work out the best way to accomplish it. The XL Video crew had 14 vehicles at their disposal to deliver the kit to each stage, and had to deal with more equipment than they ever have on Creamfields before. Macca explained: “CF05 (The Pepsi Max stage) was a new design. We had some lightweight 11mm panels that would hang on the Layher panels really easily. CF06 was a continuation of a tower block theme with a very three-dimensional set, which we clad with F-25 and Versatubes plus giving the DJs a backdrop of 15mm screen. “CF03 was an even bigger tent this year

Another successful summer of festivals and outdoor shows for our lighting, rigging and video teams! Big thanks to all the Production Teams and Promoters - letâ&#x20AC;&#x2122;s do it all again next year!

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PRODUCTION PROFILE: Creamfields

Below: Above & Beyond captivated the North Stage audience on Saturday evening.

but this version is more refined, despite being bigger. We have 15mm screens behind the DJ again, As well as the two big MC-7 IMAG screens there are 12 columns of LED fitted on all the uprights of the tent. That is a new design as well.” Macca continued: “Ian [Greenway] wanted the stages to be more immersive and we thought bringing the LED into the room was the perfect way to do that. We worked extensively with him to make the main stages and the tents look and feel bigger and better than last year something we feel that was achieved.” As new DJs, organisations or record labels take ownership of the tents on a nightly basis, and the overall look and feel of the stage changes along with it. While this may only be a case of changing DJ risers or rearranging screens, some artists such as Steve Angello on CF04 have large touring package to install. For this particular act, the crew had to build more screens downstage that had to be moved on the changeover with little or no room to manoeuvre. Toby Vogel, Screen Content Manager for LarMac Live, is employed to interact with all of the artists in order to make sure the video content runs smoothly in the right place, at the right time. Macca commented: “We help him create a one-page document of what every tent will have in advance so he can send the rider, featuring things like content maps and pixel counts, out to the artists on time. People can then get the most out of the screen and use bespoke content that sits in the correct places. It adds so much to the entertainment value.” Cream also provided video content of its own for main stages, like the giant countdown clock that was visible from around the site, which ticked away the seconds until the beginning of the festival proper. XL Video deployed a combination of MC-7, F-12, MC-18, MC-18 Hybrid, Fx-11, F-15 and F-25 screens across the site, with some of the stages proving to be more straightforward than others. Macca explained: “CF08 is quite an interesting one. Sometimes we have problems with weight loading available in the tents and, although relatively light, it is difficult to run a screen of that size (14.4 metres wide) from one leg of the ground support to another while utilising our 54

touring frames. So this was built using loose MC-7 tiles out of the frames. Even though this was challenging, it was well worth it to elongate the rather short stage. The seven mm screen is pretty well-utilised across the whole site, and that really helps. It packages in a way that we can distribute around the stages easily and make the most of the trucks that we have.” A further obstacle that Macca and his team had to overcome was the late arrival of CF03. The structure was two and a half days behind schedule, which had a knock-on effect across the site. Luckily, the team managed to find a solution to the problem by shuffling the workforce around He laughed: “We were there ready to load in and it was just grass in front of us! We had to push the schedule back on the fly and some of the guys had to work longer hours. As a result, we were still loading a couple of the screens in on Friday morning. Luckily we were able to pull a few people off the main stages to help once it had arrived and everything went smoothly after that.” BUSINESS AS USUAL Having performed the role consistently over the past four years, Britannia Row once again supplied the audio to three stages at Creamfields 2015 - the two main outdoor stages and the CF06 tent. The company supplied L-Acoustics K1 and K2 as the main PA system with an SB28 sub base on the two outdoor stages and an L-Acoustics K2 and SB28 sub base in CF06. For control, Britannia Row supplied Solid State Logic Live L500 consoles at FOH on both the main stages and a Midas Pro2 in the tent all running AES from stage to the amplifiers. Monitor systems were KARA over SB18 subs with a rear SB28 sub. Dave Compton, Client Liaison and Business Development at Britannia Row, said: “The DJs seem to adding more controllers to their set ups but the four CDJ2000s and one DJM900 is still the main rig. When a live act performs then it reverts back to striking the stage with side fills instead of DJ monitors. Creamfields is a big event and it has to be approached the same way as all big events. There are big expectations from the crowd and from the artists themselves,

so we have to deliver.” “Our crew size is in line for an event this size, as we supply FOH, monitors, system and the appropriate stage crew. To be fair, we never had any real problems over the weekend, and a good crew makes sure that happens – along with a well-stocked bus!” CREAMFIELDS’ ONE-STOP SHOP Audile provided a large quantity of equipment across four stages at Creamfields this year. CF04 was the biggest, where audio was provided by Funktion One’s new large-format Vero system. DJ monitoring was taken care of by F1 PSM318s, and control was via a Soundcraft Vi1 at FOH with a Yamaha QL5 at monitor position. Speaking about the F1 Vero system, Director of Audile, Rob Ashworth said: “As a large-format system we really wanted to give it a try in a suitably large environment, and CF04’s 95 metre long big top was the ideal opportunity. The output of the system is quite incredible - just six mid/hi and three low frequency elements per side was plenty to cover the full area of the tent without delays. “On a practical level, the system goes up and down easily - Funktion One have really put a lot of thought into the rigging system, and it’s beautifully effective. Compared to flying a Resolution array with equivalent output, it’s night and day. And on an audio level, the quality is everything we’d expect of an Funktion One speaker - breath-taking clarity and presence.” Ashworth also spoke of the reassurance given by the presence of Funktion One’s John Newsham during the weekend, who was on site to help familiarise Audile with the system and personally look after it. Audile also provided 96 moving lights including Clay Paky Mythos and Sharpys, 18 Clay Paky Stormy CC strobes, Robe 600 and 100 LED fixtures and numerous generics. Control was via an Avolites Pearl Expert desk, with LD Jonny Godsmark at the helm. The company also provided rigging for video and guest production, with 44 CM Lodestar hoists installed onto Prism’s ground support structure. Elsewhere on CF07, Audile was only tasked with supplying audio - providing a d&b audiotechnik J-series system augmented

PRODUCTION PROFILE: Creamfields

with B2 subs and powered by D80 amplifiers. Monitoring was V-series with B2 subs, and control was a Midas PRO2C. In CF08 a Funktion One Resolution system was provided, along with d&b audiotechnik C7 monitoring and a Midas PRO2 controlling. Lighting was again mostly Clay Paky, with 30 Sharpys, 12 Alpha Spot 700 HPEs and 12 Stormy CCs, with 15 Robe Robin 100 LEDBeams and 26 Prolights Pixrolls, plus generics. Control was via a Chamsys Magic Q 100. Again Audile provided a large amount of rigging for both lighting and video, including 10 truss triangles of various sizes for Don’t Let Daddy Know on the Sunday night. Finally, in CF09 the company provided another Funktion One Resolution system, and a lighting system comprising six Clay Paky Mythos, 18 Robe Robins 100 and six Atomic strobes, controlled by an Avolites Tiger Touch desk. Audile supplied a large quantity of DJ kit across its four stages, including eight Pioneer DJM-900 NXS and SRT mixers, three Allen & Heath Xone 92 mixers, 28 Pioneer CDJ-2000 CD players and 16 Technics SL-1210 and 1200 turntables. Ashworth commented: “We’d been involved on the fringes of Creamfields for many years before we started to supply the larger stages, providing production for the Strongbow Rooms. Through this we’d gained a good understanding of the event, and got to know various people

involved in its management. “Following the 2007 event, it’d become clear that the festival had grown to a size where its previous model of using a single supplier for production across all major stages was no longer feasible, and that a number of suppliers would serve the festival’s needs better. We were very pleased to be invited to discuss becoming involved with the festival on a larger scale for 2008, and have been involved ever since.” Aside from Daresbury’s uneven ground and unpredictable weather, Ashworth claimed that the main challenge is delivering production to the artists’ expectations. He continued: “Creamfields is a flagship event for artists to showcase themselves at a global level, and they want to go all-out with their production. So we’re faced with the challenges of accommodating main stage-level production in big top environments, and more often than not with the further challenge of making major changes to this production in each arena on a daily basis.” Ashworth went on to point out that, more so than the majority of festivals Audile are involved with, Creamfields is not as constrained by the “usual hierarchy” in terms of the stages. He explained: “Every stage is a ‘main stage’ in terms of its line up and its production. Even the physically smaller arenas have a stellar line up, with production to match.”

This level of performance serves as both a challenge and an opportunity to impress for the companies striving to keep the production behemoth that is Creamfields under control. Preproduction is an integral part of this, particularly with the level of artist involvement. Ashworth said: “The most intensive phase is liaison with the artists’ production teams, first working to understand their creative vision, then going away to work out how to deliver it within the constraints of the arena.” He continued: “It normally requires quite a few design iterations to get to the point where everyone is happy, and a particular challenge at this stage is designing an infrastructure in each arena that can support the multiple productions over the weekend, and make changeover between these as easy as possible. We work closely with Ian Tobin at Prism who supplies ground support structures to most of the arenas, and also with XL Video who supply a vast quantity of LED screen panel.” RAVING IS IN THE DNA Creamfields is always a special event for Adlib. The company has been involved with various Cream activities since the superclub exploded onto the dance scene in the early 90s and has continued to be a major influence right at the epicentre of rave culture. This year Adlib supplied sound and lighting

PRODUCTION PROFILE: Creamfields

Below: The Chemical Brothers shunned special effects, instead opting to make use of Creamfields’ well-stocked arsenal of video and lighting.

to three arenas, CF03, CF05 and the CF12 hospitality area. Adlib’s Ian Tomlinson opened his imagination-bank and designed three stunning, dynamic and flexible production ‘house’ lighting rigs for the three areas each to bring a different ambience to the respective space. The lighting design on CF03 incorporated over 200 moving lights including Martin Professional MAC Vipers and Quantum Washes, Clay Paky Mythos and Stormy LED strobes and the massive audience was involved in all the action throughout by lighting on two 200 metre long trusses traversing the length of the venue. Ryan Hopkins was Adlib’s Lighting Operator, running an MA Lighting grandMA2 full size. Adlib’s crew of 12 included a changeover team who re-rigged Saturday / Sunday to accommodate a complete new incoming rig for Axwell & Ingrosso on the Sunday, designed by their LD Rob Lister. The idea in CF05 was to curve the production around half of the tent, following the contours of the venue and the imposing video wall. Lighting comprised Robe LEDBeam 100s and CP Sharpies together with LED battens, all rigged on the scaffolding structure also supporting the LED video wall. Four audience trusses were fully populated with Martin Professional MAC 700 washes and spots, all run by Charlie Rushton and Paul Crompton, who utilised two High End Systems Whole Hog Full Boars and two Avolites Pearl Experts for control. The hospitality area comprised three saddlespan tents with the mouths butted up together, with a circular truss flown in the centre, supported by three roof structures. On this the crew hung Robe LEDBeam 100s and Martin Professional MAC Quantum Washes. The tent roofs were illuminated with LED PARS, and haze machines provided additional atmosphere. Lighting was programmed onto an Avolites Tiger Touch console. These same three arenas also had three 56

sound systems designed by Adlib’s Phil Stoker. The system in the CF03 was Coda LA-12 with SCP-F subs and ViRAY delays and infills, which filled the tent beautifully giving a rich and resonant sound with plenty of body. It was specified by Stoker and based on the system that has been provided for this venue over the past four years which has been hugely successful with both artists, visiting engineers and the public. In CF05 the audio system was curved around the room to match the aesthetics, a substantial stack of ViRAY and SC2 subs were positioned either side of the DJ centrepiece to cover the near field, with rear fills of Coda LA12 and SC8 Subs placed at the end of the arc. Another Soundcraft Vi3000 console was used too, run by Steve Norman and Billy Bryson, with Adlib’s MP4 wedges onstage for DJ infills. In CF12, another Coda PA system was installed. This was also ground stacked LA12, with some smaller ViRAY boxes distributed around the tents for outfills. VETERAN SUPPORT London’s Colour Sound Experiment provided lights and rigging for the CF06 and CF07 arena stages. The company’s founder, Haydn Cruickshank, explained that Colour Sound provided 12 Robe MMX spots, 28 Pointes, 16 LED wash 600s, 12 Martin Professional Atomic strobes, 32 Colourband PIXs (pixel mapped), six 4-lite molephays and nine i-Pix BB7s for CF06. Colour Sound also provided a Chamsys Control desk, a White Light Type D mains distro box and two DMX Opto Splitters. For effects, Colour Sound supplied CF06 with four Martin Professional JEM ZR44 Hi-Mass smoke machines and two Reel EFX DF-50 diffusion hazers. A total of 54 metres of JTE Supertruss was used on the arena, along with 10 metres of Litec QX30 truss, a Litec QX/QD30 Dado Cube and nine CM-ET Lodestars. On CF07, Colour Sound provided 25 Robe

BMFL Spots, 46 Sharpys, 16 Beam 200s, 32 LED wash 600s, 22 Diamond 7 LED beams, 30 Atomic Strobes, 20 2-lite molephays and 72 Chromastrip 900s. For control, the stage required an MA Lighting grandMA control desk, an Avolites Tiger Touch II Control desk, two White Light Type D mains distro boxes and a dimmer rack. Colour Sound again used four Martin Professional JEM ZR44 Hi-Mass smoke machines and two Reel EFX DF-50 diffusion hazers for effects. CF07’s Colour Sound-supplied inventory was completed by a 12 metre by 9 metre JTE Supertruss goalpost, six Litec self-climbing towers, three 12 metre QH40 trusses, two 5 metre QX30 Circle trusses, two 18 metre 52cm trusses and a total of 18 CM-ET Lodestars for rigging and control. NUTS, BOLTS AND RISERS Acorn Event Structures was again awarded the contract to provide the complete staging package for Creamfields. Acorn supplied two 60 metre wide outdoor stage roofs using its Space Roof product combined with steel truss video wings to support 730 sq metres of LED screen. Each main stage was supplied complete with a newlydesigned cowshed arrangement, FOH structures and delay towers. In addition to the main stages, Acorn provided over 900 sq metres of standalone stage platforms and wheelchair user platforms across eight indoor arenas at the festival using its modular Layher decking system. Andy Nutter, Managing Director of Acorn Event Structures commented: “Since we introduced Space Roof to the UK marketplace, its popularity has increased dramatically as promoters and production companies are realising not only its impressive performance capability but also the ease with which its visual appearance can be altered.” Both the North and South main stages used

PRODUCTION PROFILE: Creamfields

Below: BPM SFX brought confetti, streamers, flames, Co2 and pyrotechnics to Creamfields - all of which comes with its own set of supervisory rules and regulations.

two identical Space Roof modular outdoor stage roofs. The LED screen across each stage roof header was unique to Acorn, and both stages had 20-metre wide steel truss video wings either side of stage to support the 600 sq metres of video and side hung PA. Overall, the main stages measured 70 metres wide by 15 metres high by 20 metres deep. The arena stages all had Layher stage platforms individually configured to meet a specific design. The total area of staging supplied across all eight arenas amounted to 900 sq metres. Acorn provided structural support for the custom backdrops and sets in each arena, as well as ancillary and FOH structures, delay towers, custom DJ risers and accessible viewing platforms. Elsewhere, LS-Live provided a selection of static, deck, and rolling risers across all stages at Creamfields. These were shared by the majority of artists, excluding acts such as Avicii, Fatboy Slim, and Axwell Ingrosso who were supplied with their own. The company liaised directly with Matt Smith from LarMac Live in order to coordinate the risers for each stage. Jess Woodward, Hire and Set Manager for LS-Live, commented: “This year we itemised each stage to each riser to make things easier for the team on the ground. As usual it was an absolute pleasure working with Creamfields again, even if the last minute changes can be a little challenging at times I look forward to next year!” SERIOUS FIREPOWER BPM SFX supplied both of the outdoor main stages and seven arenas with special effects and lasers during the weekend. This included confetti, streamers, flames, Co2 and pyrotechnics, all of which comes with its own 58

set of supervisory rules and regulations. Liam Haswell, Technical Director for BPM SFX, explained: “With pyrotechnics, there are always constraints such as those on height, safety distance, location of the festival or any proposed site. This takes five or six months of planning because each artist has their own individual rider, and have to collate that and make it viable for the day.” Across the full festival site, BPM supplied 85 Co2 jets, 20 fixtures of 20 metre Inferno Flames, 24 Coloured Liquid Flames (12 metre), 24 Coloured Flamanaics (six metres), 34 G Flames (six metres), 40 XL Confetti Blowers, 24 Stadium Shots Mk2, 20 X-Treme Shots, 86 Powershots, and 65 Galaxis Wireless Receivers. The company also deployed a mammoth 950 Co2 cylinders, two and a half tonnes of confetti, 7,500 streamers, 1,250 litres of flame fluid, 1,500 display pyrotechnics units and another 4,500 stage pyrotechnic units. This formidable arsenal warranted the presence of 60 (count ‘em, 60) BPM crewmembers, two tour buses, four golf buggies and three articulated lorries. Haswell continued: “When each artist is bringing in different shows, both the tents and main stages have to be re-rigged overnight to suit the incoming headliners. This means a lot of hours, and a lot of crew. Special effects really is a constant job, there is no set up and leave it, you have to design, plan, install and operate throughout the day – or night in Creamfields’ case,” he added. “The last show on Saturday finished at 4am on Sunday and then back open at 12pm, so you have to plan everything in advance to change round shows in that amount of time. You have to have three or four crew in each tent and eight or nine on each of the main stages to

make sure that everything is safe and working.” While there are exceptions to the rule, the majority of Creamfields’ star-studded line-up places paramount importance on bringing a big production - with an integral part of that being special effects. “Everyone brackets DJs together as having the same attitude to production but that’s not the case at all. Each one is very particular about what they want,” explained Haswell. In addition to this, the Creamfields organisers also want to add their own special effects packages - namely two or three minute pyrotechnic endings to Hardwell, Avicii and Tiesto, launched from behind the stage in order to enhance the festival experience. Haswell continued: “The organisers are heavily-involved and want to make sure they are bringing new shows to the table each year. Our job is to design them and make sure they are achievable. This is our seventh year in a row doing Creamfields so we know what to expect. We know that you need the right amount of experienced technical crew, and you need to refresh them day and night. As a result we can put on a great, safe show.” TPi Photos: Alex Lonsdale, Anthony Mooney, Marc de Groot, Howie Hill www.creamfields.com www.xlvideo.com www.prg.com www.larmaclive.com www.britanniarow.com www.acorn-events.com www.showforce.com www.bpm-sfx.com www.audile.co.uk www.coloursound.co.uk www.ls-live.com www.adlib.co.uk

PRODUCTION PROFILE: Arcadia

ARCADIA HEADS TO THE CITY BIOFUEL FLAMES, LED JELLYFISH, MUSICAL TESLA COILS AND CO2 HUMAN CATHERINE WHEELS ARE JUST SOME OF THE ADDITIONS TO ARCADIA’S LATEST SHOW, METAMORPHOSIS. BROOKE NOLAN CAUGHT UP WITH THE TEAM AS THE 50-TONNE SPIDER HEADED HOME TO BRISTOL FOR ITS FIRST EVER INNER-CITY PRODUCTION.

Arcadia is the creative vision of Technical Director Bertie Cole and Creative Director Pip Rush Jansen. The 15 metre high, 20 metre wide, 50-tonne spider is constructed using 95% recycled materials, mainly from military scrap. Helicopter tails and jet engines are combined to create one of the world’s most unique stages. Since 2010, the giant arachnid has hosted everyone from Skrillex to Fat Boy Slim, all of whom DJ in the belly of the spider, high above the crowd below. September 2015 saw Arcadia face one of its biggest challenges yet as it held a twonight concert at historic Queen Square in central Bristol, a few miles from the team’s headquarters. Production Manager Ceri Wade explained: “Things you take for granted on green field 60

sites become difficult, such as bringing in the 100-tonne crane to install the spider. We needed Highways Agency go-ahead and can only take it onto certain areas. “Build times are reduced as the square is surrounded by offices and property. It’s been a delicate thing to organise. But it’s great to be here. Bristol is where the spider - as we know it today - was born.” Arcadia teamed up with production company Team Love, which has extensive knowledge of the area due to its experience producing festivals including Love Saves the Day. “They’ve been great to work with,” said Wade. METAMORPHOSIS Arcadia has been performing its previous show The Landing Show for two years, with Metamorphosis debuting at Glastonbury Festival

2015. The show was adapted to fit Queen Square and was part of the city’s year-long Green Capital celebrations. Wade continued: “We would always have developed a new show. But Green Capital really fits with our ethos, so we worked towards the goal of having it ready for this summer. It’s easy to become preachy about sustainable issues. But for us we just wanted to create something where people would question and think. But if they don’t - if they just enjoy the show for the spectacle it is - then that’s fine too.” Metamorphosis was developed over six months, eventually settling on a design intended to expand the experience outwards into the arena and involve as much of the audience as possible. “The new additions mean you’re immersed wherever you are, you don’t just have to be

PRODUCTION PROFILE: Arcadia

Opposite: Arcadia is the creative vision of Technical Director Bertie Cole and Creative Director Pip Rush Jansen. Below: The Bristol show saw the introduction of Arcadia’s first ever biofuel flames.

under the spider itself,” said Wade. These additions include mini spiders, giant LED zorbs and three tesla coils located within the crowd. “My favourite addition is the mini spiders which are mechanical and driven by performers,” said Wade. “Our Riggers Adam Blackburne and Wim Penhaul were key in their development. They make it look like the spider is multiplying and always take people by surprise when they appear overhead from the PA towers.” AUDIO The Metamorphosis show lasts 30 minutes and is usually followed by DJ sets. But the Bristol performance marked the first time the spider has hosted a live band, with Roni Size Reprazent performing on the Friday night. Roni Size was located in the DJ booth, with each of his band members located on a podium below, at the base of each of the spider’s leg. His singer and MC

roamed the structure, entertaining the 12,000-strong crowd. “It was a labour of love to get that sorted,” said Wade. “Roni’s tour manager said they loved it but thought he was crazy at first because they wouldn’t be able to see one another.” A long-term member of the Arcadia team is Bristol-based audio supplier Audio Funktion. The company provided the PA system, choosing a complete L-Acoustics set up with 140 individual speaker boxes. The main hangs featured nine KARA line sources and four SB28 subwoofers, infills featured six hangs of five Kiva line sources and two SB18 subwoofers. Outfill comprised a centre cluster of six L-Acoustics Arcs Wifo loudspeakers with four SB18 subwoofers, the outer package consisted of six Arcs with two SB218 high power subwoofers for maximum low frequency extension and impact. The DJ booth monitoring system was made up of an 8XT 61

PRODUCTION PROFILE: Arcadia

Below: Metamorphosis was developed over six months, eventually settling on a design intended to expand the experience outwards into the arena and involve as much of the audience as possible; Arcadia’s Production Manager Ceri Wade; Pyrotechnics boots in full flow; Darren Elston has worked as Arcadia’s Laser Designer for two years.

and two 115 hiQs. Audio Funktion’s Director, Paul Rose, said: “Roni Size was a bit of a challenge as it was the first time we have had a full live setup on the spider stage. They’re touring, so supplied the majority of their own equipment and monitoring was all done through in-ear monitors.” With all 84 Arcadia crew busy operating the spider and the rest of the site, Wade brought in an additional six local crew to ensure a smooth changeover after the band’s performance. The audio team consisted of Matt Howes as System Tech, Matt Royston-Bishop on FOH and Jacob Kuenzler-byrt. VIDEO AND PROJECTION The DJ booth - the body of the giant arachnid - is clad in 89 modules of 10mm pixel pitch LED at 5,500 nits brightness, supplied by Video Illusions. Due to the shape, size and location of the booth, standard LED panels wouldn’t fit. Directors Nick and Dave Whiteoak headed to Pro Light + Sound to source a suitable alternative, finding a Chinese-manufactured screen which could be modified to fit. 62

“We first supplied the show back in 2013 after plenty of product research,” continued Whiteoak. “There’s a lot of modification that goes on, but the main adaption we had to do from the start was change the length of the data cables which run from the receiver cards.”

“The Metamorphosis show is completely timecoded down to the last millisecond,” explained Cooper. “During the show itself we all just watch the visualisers and hope nothing goes wrong! After that, during the DJ sets and live band, we busk and have a lot of fun.”

“It doesn’t matter how good the mapping is if the content isn’t any good. It’s Blinkin Lab that creates the art. Their content really is king.” Spider Mapper, Selvin Cooper

In a standard system, the data cable is approximately 12-inches from receiver card to module, but Video Illusions has increased it to three metres. Overseeing the installation of the video and ensuring the system integrates seamlessly with the projection mapping and lighting is Spider Mapper Selvin Cooper.

Cooper runs two systems - a main and a backup - choosing Avolites’ Sapphire Media Consoles, EX8 media servers and Gefen 16 by 16 matrix. CPL provides the projection equipment, headed by Operations Director Richard Burrow and supported by crewmembers Sam Starkey and George Oakey.

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PRODUCTION PROFILE: Arcadia

Below: MIRRAD’s LIghting Operator Francis Clegg; Arcadia’s Flame Manager Matt Askey; Jeb Hawkins is Arcadia’s Lords of Lightning Technician, perched here atop a tesla coil (electricity off, obviously); Nick Whiteoak of Video Illusions; The Event FX team.

The system consists of six 20k Panasonic PT-DZ21K Projectors to map the front and back of the spider’s legs, six Connex DVI/RJ45 Fibre Optic transmission Systems and six Fibre fox 150 metre 4 Channel ECB54 Fibre Optic cables. “The projection system is controlled with Panasonic’s Multi Projector Monitoring and Control Software,” said Burrow. “We utilise the same fibre optic cable system that the content is sent down, to cut down on cabling amounts and additional signal interfaces.” The software enables the team to monitor and control various projector settings including

all geometry adjustments, data signal from the Ai server, test patterns, power on and off and also monitor projector temperature and general system status. “It’s an essential bit of kit when the projector is 10 metres in the air and with a sea of people in between,” said Burrow. The visual content for the screens and projection mapping is provided by husband and wife team Satoko and Tom Wall of Blinkin Lab. “The content is completely new for this Bristol show and makes the spider look like it’s alive,” said Cooper. “It doesn’t matter how good

the mapping is if the content isn’t any good. It’s Blinkin Lab that creates the art. Their content really is king.” Light Initiative developed the LED jellyfish costumes for the aerialist performers, giant zorbs and alien eggs. The company first came to Arcadia’s attention at Glastonbury 2014 where they turned up with an LED catsuit which - spurred on by Cooper - was donned by Costume Maker Francesca Boyle who danced around outside FOH. System Inventor and Creative Lead Bryn

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PRODUCTION PROFILE: Arcadia

Below: The 15 metre high, 20 metre wide, 50-tonne spider is constructed using 95% recycled materials, mainly from military scrap.

Williams said: “Either the dancing was great, or the suit impressed.” Arcadia’s Costume Designer Jo Peacock wanted to use the LED costumes to create the giant jellyfish, an integral part in the show’s storyboard. Determined to make its LED system meet the physical requirements necessary, but not constrain Peacock’s creative vision, Light Initiative developed a highly flexible version of its costume LED to be used as the jellyfish tentacles. These three metre long tendrils form the LED exoskeleton: a huge, removable outer part of the costume. Underneath is a mappable inner catsuit. Three custom costumes were made in total, each sporting over 8,800 LEDs. The costume’s LED control system is named the Electron and as part of the pre-show prep, an Ai Infinity Ex8 media server is used to accurately video map the suits with the resulting output interfaced with the Electron system. 66

Williams’ team consisted of Boyle, Lee Jones and Ben Vaughan on control and Zsolt Feher as System Technician. As well as the costumes, Light Initiative created the six giant zorbs each rigged with 1,900 LEDs. Peacock said: “There were a lot of challenges to make these costumes a reality; the short turnaround time for R&D, H&S and making them durable and flexible, yet light enough and comfortable enough for the performers to work in, plus consider the placement of control unit and battery packs so that the performers felt comfortable.” LIGHTING Lighting design company MIRRAD was cofounded by Dave Cohen, Jamie Thomson and Bryan Lietch with Francis Clegg on site as Lighting Operator. Cohen said: “The lighting rig has to be sympathetic to many mediums including lasers, video, pyrotechnics. One medium that does

affect the lighting is the structure itself. Being a scrap metal art installation lighting positions have to be sympathetic to the aesthetic of that.” A large proportion of the design was developed by MIRRAD offline via the MIRRAD studio utilising WYSIWYG, with equipment supplied by Colour Sound Experiment, installed by Arcadia’s own technicians and overseen by Arcadia’s Technical Director, Tim Smith. Colour Sound’s Haydn ‘H’ Cruickshank, said: “The main changes were replacing the Martin Professional Atomic strobes on the spider with new SGM XC-5 LED strobe units. We also added lighting fixtures to six PA towers erected for the surround sound system in Queen Square.” Four Robe Pointes were attached to each of the spider’s three legs, with another 10 deployed on its belly underneath the DJ booth. 70 Dragon LED PARs were used to light various scenic elements of the spider structure, with three sets of Clay Paky Alpha Beam 1500s making the piercing eyes and giving a 360°

PRODUCTION PROFILE: Arcadia

Below: Performers were suspended high above the corwd; Paul Rose (left) and Spider Mapper Selvin Cooper.

effect. Four XC-5 strobes adorned each spider leg, with another three on the belly. The six PA towers were each rigged with one Robe BMFL Spot, two Pointes, two more XC-5s, three Dragon PARs and a hazer machine. Colour Sound supplied over 50 additional Dragon LED PARs and 12 Studio Due City Colors LED floods to light the trees in and around Queen Square. LASERS Darren Elston has worked as Arcadia’s laser designer for two years. “The timecoded show was a result of lasers being introduced,” he said. “It takes out the human element and removes the possibility of misfiring cues.” The setup for Bristol included nine lasers in total, a mix of 8W Swisslas and 14W Pikos across the spider’s body and legs and controlled via a Pangolin Beyond system.

Elston introduced new design elements for the Bristol show, taking advantage of the enclosed arena. He said: “In Queen Square I was able to introduce graphical elements onto the surroundings. My favourite is the firefly effect which looks great in the trees.” The Queen Square site is situated on the Bristol Airport flight path with Elston in direct communication with Civil Aviation pre and during the show. SPECIAL EFFECTS The Bristol show saw the introduction of Arcadia’s first ever biofuel flames. Flame manager Matt Askey explained: “For the Bristol event, we wanted to experiment with a more resourceful approach. “Through developing the recycled biofuel flame system, we were not only able to use waste vegetable oil from local chip shops to power it, but also to try out new 67

PRODUCTION PROFILE: Arcadia

Below: The spider’s lighting rig has to be sympathetic to many mediums including lasers, video, and pyrotechnics.

dynamics and new atmospherics with our flame effects.” Quantum Special Effects worked with Arcadia to develop the new system. Quantum’s Mike Badley said: “Every part of the system is bespoke. The basis was our Spitfire system, which is a big liquid flame system. The liquid we usually use is very thin - like water whereas bio fuel is very thick. We introduced a giant pump system in order to get the pressure right and get it to atomise correctly.” Event FX installed pyro across 30 different positions, including 12 on the main spider. Special Effects Supervisor Ed Samkin designed the show, with Crew Chief Dave Lyon and Crewmembers Andy Adams and George DaviesCoward on site during the performance. Lyon said: “The show is fired using a wireless Galaxis firing system, which gives the flexibility to have pyro virtually anywhere. You simply couldn’t do this gig with a wired system because of all the different moving parts and locations we need to cover.” Six performers were rigged with pyros, thanks to the introduction of ‘pyro boots’. The boots are worn by the aerialist performers and were designed by Event FX specifically for the Metamorphosis show. They feature wireless controllers hidden within each boot, which activate 10 second by 10ft gerbs. “They’ve undergone extensive testing,” said Lyon. “And feature a very high-quality product 68

which is predictable in terms of function and fallout.” Another new product is the hand-held Co2 jets for the performers operating the mini spiders. Wade refferred to them as the “human Catherine wheels”. Lyon explained: “Arcadia’s creative team wanted to make the performers spin and we experimented with a variety of different options including backpacks. But the hand held Co2 system gives them enough power to spin as they tumble from the chair which hangs below the mini-spider.” LORDS OF LIGHTNING The Lords of Lightning is the invention of New Zealander Carlos Van Camp. Performers wear chain mail suits and stand atop giant tesla coils located in amongst the audience, conducting bolts of electricity up to four million volts. The already-impressive equipment has been upgraded, and now act as giant musical instruments, creating notes transmitted via midi signal from the FOH console. Jeb Hawkins is Arcadia’s Lords of Lightning Technician and worked with Van Camp on development. “We found some people in America making some very small musical tesla coils,” he explained. “But nothing of this scale. We reverse engineered the electronics and worked out how

it worked. It took two months to build the three machines used here on the show.” A backing track has been written specifically, with the midi signal of the main melody triggering the lighting to play the right notes. “The track required lots of testing because there are still limitations to the notes the tesla can play,” said Hawkins. “But the sound you’re hearing is being made by the coils themselves.” Although it looks as though the performers are making the notes, Hawkins explained that it’s actually just carefully choreographed to look that way. For Production Manager Wade, the new technical additions are just another day at the office. “That’s the great thing about Arcadia, we never rest on our laurels and are always looking for the next thing that is going to make people stop and say ‘wow’,” she concluded. TPi www.arcadiaspectacular.com www.coloursound.co.uk www.q-sfx.com www.eventfx.co.uk www.blinkinlab.com www.lightinitiative.co.uk www.cplav.com/ www.videoillusions.net www.audiofunktion.co.uk www.teamlove.org www.lordsoflightning.co.uk

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COMPANY PROFILE: Production Park

PRODUCTION PARK TUCKED AWAY IN A SECLUDED AREA OF WEST YORKSHIRE, THE NEW CENTRAL HUB FOR THE LIVE EVENTS INDUSTRY, PRODUCTION PARK, IS NOW OPEN FOR BUSINESS. AFTER A SUCCESSFUL LAUNCH AT THIS YEAR’S PRO SHOW, THE PARK HAS BEEN IN TOP GEAR WITH A RAPID EXPANSION OF BOTH PREMISES AND RESIDENTS EXPECTED IN THE COMING MONTHS. TPi’S STEW HUME TAKES AN EXCLUSIVE TOUR OF THE FACILITY AND MEETS SOME OF THE COMPANIES THAT NOW CALL PRODUCTION PARK HOME. As TPi stood at the top of the staircase of the monstrous Studio 001 in Production Park looking over rural Yorkshire, Lee Brooks, Co-founder of the concept, talked through the history of this Wakefield site. Although Brooks steered away from terms like ‘Pinewood of the North’ there is no doubt that Production Park is shooting for the stars, wishing to become the hub of the UK’s live events industry. With more companies looking to set up base at the Wakefield camp. Production Park had been one of the bestkept secrets within the live music industry until its soft launch at this year’s PRO Performance and Venue Technology Show in Birmingham. Now the cat is out of the bag, Production Park is welcoming all corners of the live events 70

sector to the site with the goal of creating an environment that is exciting, vibrant and fun. “We had recognised that there were lots of disparate locations in the UK,” stated Brooks as he talked about the origins of Production Park. “The UK is still the centre of concert touring in Europe but there is not a lot of collaboration.” It was this train of thought that led Brooks and the rest of the family-owned Dark Arches Holdings to set up the long-term plan for their Wakefield site. With plenty of room for expansion as well as no noise restrictions, Production Park is the perfect site to build a Mecca for the industry. Brooks expanded: “We are in a good part of the UK which is fairly cost effective and situated very well logistically for rail and transit. We also have the support from the local and regional development agencies

and council who are excited about the changes Production Park could bring to the community.” Brooks and his marketing team have been very methodical about launching Production Park to the industry as a whole. Guy Marks, one of the marketing team behind Production Park talked about its launch at PRO: “The whole event was was about networking and building up the interest in the units we have available. From that perspective it was a huge success. We think next year we will try something much bigger.” With the launch out of the way, interest for the Park has skyrocketed. Brooks stated: “We are getting people calling us up having seen the launch of Production Park and requesting tours of the facility from as far afield as Asia and the US.” The advantage of taking up office space

COMPANY PROFILE: Production Park

Opposite: The self-contained, stadium-sized rehearsal space of Studio 001. Below: LS-Live has been built ground up with the focus that any production coming to Production Park can be catered for, with the complex including its own 14 bedroom hotel, greenroom and a gymnasium.

with so many services right on their doorstep seems to have really sparked the interest of many within the industry. DIVERSITY When walking around Production Park, it is clear that diversity and openness are two of the key aspects the site is trying to create. The idea being that companies will be able to collaborate with one another and progress together. As Brooks commented: “I think it is important to have the complete palette of touring services here at Production Park. You could go through the list of the TPi Awards and we could potentially have someone from the park nominated in every category.” It certainly seems like the site is on the way to that goal, with LS-Live, Brilliant Stages and Brilliant Automation, Perry Scenic Creative, Advanced Profiling and Litestructures already making a footprint. In terms of areas Brooks still wants to see on the site he stated: “Most notably lighting and sound. Beyond that though we are working to create a partnership for really great catering

as a central social hub, as well as more general production support such as power distribution, logistics and security. I think these specialists should also be mixed up with real niche artisanal skills like neon sign construction and sculpture.” The fact that so many businesses from the live touring industry are already accounted for on site, has not escaped the attention of production managers who have been using LS-Live’s rehearsal studios. Brooks commented that, with so many services available in one place, it is not surprising that Production Park has struck a chord with tour managers and designers. “Over the last six to eight weeks, some key figures in touring and events have popped in to talk about the extension of the Park and asking about potential office space.” It should also be mentioned at this stage the expansion that LS-Live has undergone. From the smaller rehearsal space of Studio 005 all the way up to the self-contained, stadiumsized rehearsal space of 001, all levels of live production rehearsals can take place on site. An aspect that Brooks is keen to emphasise

is that it wants to make Production Park a site of diversity: “I think it is really important that people realise the Park is completely apolitical and totally inclusive.” EDUCATION Production Park is doing far more than simply providing a home for the UK live industry. It is also playing a part in creating the next generation of professionals in partnership with Backstage Academy. Situated in the main LSLive Studio 001 building, Backstage Academy was set up to provide all the facilities to ensure the graduates are prepared for a career in the live music industry. With over 200 students situated at both Production Park, as well as Unity Work in Wakefield community centre, the students are thrown into the heart of the live production industry. Managing Director of Backstage Academy, Paul Barton, spoke of how in many respects, it is key to the longevity of the industry: “The concept of Backstage Academy was conceived by Adrian Brooks in 2008, as his team worked 71

COMPANY PROFILE: Production Park

Below: Situated in the main LS-Live Studio 001 building, Backstage Academy was set up to provide all the facilities to ensure that graduates are better-prepared for a career in the live music industry.

to deliver the requirements of a growing customer base at LS-Live Studios. It was clear that there was a desperate need for people to be well trained and well versed in the inner workings of the live events industry.” Founded in 2009, Backstage Academy has gone from strength to strength. As well as the FDA productions course, Backstage

Hopefully we produce people who understand both elements so we can start shrinking the gap between technicians and management.” Barton was clear to get across the programme’s ethos, which is based on the blending of practise and theory. “The original idea of creating Backstage Academy in LSLive’s building, and now the development of

“We want people and companies to come here for the right reasons, seeing not just short term revenue and exposure, but rather, buying into the collaborative future of Production Park.” Co-founder, Lee Brooks

Academy now offers a BA (hons) in Live Event Production not to mention a Visual Production degree and a Stage Management degree. Barton highlighted the importance of the Stage Management degree: “There are a lot of people in management who don’t understand the technical requirements of live production, so you get people giving orders who don’t fully understand the technical aspects of a show. 72

Production Park, gives students a real taste of reality as well as theory,” stated Barton. This industry training, combined with degree validation, gives a totally unique model with proven benefits to both student and prospective employer, and this is driving growth in student numbers. Marks added to this, stating: “Part of the long term plan is for Backstage Academy to have its own purpose built campus on site,

facilitating growth to 1,000 students by 2020.” The youth and energy at Backstage Academy is something that founder Brooks is clearly passionate about. “You are able to tell once you walk around Production Park, the average age is perhaps 30, maybe even younger. The people that founded this industry back in the 70s and 80s are all moving to the end of their careers, and we’re looking to where the next generation will come from.” He went on to state that the youthful nature of the PRO show was also one of the main draws to launch Production Park at the event. “We saw a lot of young people at the show, having being attracted by BPM. These are the people who are going to care about the industry in the future so it’s important to attract them at an early stage.” THE FUTURE In the last nine months Production Park has seen massive expansion and now that the site is very much in the public eye, there is no letting up on the site’s growth. “We have a long-term master plan to bring a lot more space to the site, with significant expansion land at our disposal. We want people and companies to come here for the right reasons, seeing not just short term revenue and exposure, but rather, buying into the collaborative future of Production Park.” TPi www.productionpark.co.uk

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COMPANY PROFILE: Production Park

WHO CALLS PRODUCTION PARK HOME?

PERRY SCENIC

Opposite Studio 001 is the 15,000 sq ft warehouse that is home to Perry Scenic Creative. Exporting internationally for over 25 years, Perry Scenic is one of the pioneering companies within the music industry, creating stages and sets as well as 2D and 3D art for live performances. Managing Director Jon Perry talked through the various services that Perry Scenic provides: “We can support the very early stages of an idea all the way to making it happen. We have built stage sets for the music industry, theatre, television, live shows, tours, art installations to name but a few. We can provide scenic painted backdrops with a wide variety of bespoke creative drapes and soft goods. We also sculpt in a wide variety of materials, from intricate maquettes to huge 3D creations, and have a very large spray booth and hot spray hard coating.” Perry Scenic has only recently moved to Production Park but according to Perry the team has hit the ground running. “I feel making Production Park our new home puts us in the best position for taking the company forward, and building on our long heritage,” Perry commented. “Production Park is made up of like-minded companies who we have worked along side for several years. All the businesses are busy and it creates a really good working atmosphere.” He also noted the benefit of having Backstage Academy on site. “Backstage Academy is the future of our industry. Perry Scenic already employs two graduates from the University Centre; our Junior Project Manager and Soft Goods Assistant have both gone through the Backstage Academy programme.”

ADVANCED PROFILING SERVICES

Specialists in precision profiling and machining services across variety of metals and other media, Advanced Profiling Services (APS) represents one of Production Park’s biggest success stories. Steve Jones, Managing Director of Advanced Profiling, moved to the site 12 months ago with one machine and in just under a year has expanded APS’s stamp on the Park; now employing six members of staff and manning eight machines. Jones commented: “APS has expanded very rapidly over the past 12 months, working closely to meet the needs of the Production Park’s residents and investing over £100,000 in machinery such as a CNC Router, CNC Pressbrake and our latest arrival: our 3.3kw Amada laser-cutting machine. All of these new investments really complement the water-jet cutting and CNC machining we already had in place. Listening to the needs of the companies around us at Production Park and fulfilling those requirements has been the key to our growth.” The decision to move to the Park was a logistical one as APS was already supplying some of the companies that were based at the site. Jones added: “The decision to move was an easy one. We needed to expand the business and we were a great fit for the supply chain of Production Park.” With such a rapid increase in staff and machinery, the future seems bright for APS. Jones concluded: “We have plans for an Automated CNC Lathe that will be yet another significant investment. Our staff level has tripled over the past 12 months and we have just taken on our first apprentice. Hopefully we can continue this expansion and pass on our knowledge base.”

BRILLIANT AUTOMATION

Situated in another corner of Production Park is Brilliant Automation’s self contained workshop. Headed up by Manager (and Backstage Academy graduate) Harry Heathfield, the small team are responsible for building bespoke and standard automation systems for the live industry as well as creating tailored LED signs and almost anything electronically technical that is thrown its way. Know for its custom control systems including the I Series and S Series, power distribution systems and DMX Automation interfaces, the team encompasses many decades of concert touring electronics expertise. The capability in these fields has long been on the Wakefield site, however, not in its current format. Heathfield explained: “Automation and electronics was always a small part of LS-Live. However, we saw a real gap in the market for what we could provide and now offer a modular range of automation systems to the industry, with exceptional back-up. We are not an off-the-shelf solution in isolation, we offer support and engineers throughout any part of shows. Nothing is impossible to us, customers can come up with very creative ideas and we use our technical expertise to make it work.” According to Heathfield, Production Park is the perfect location for Brilliant Automation: “Production Park creates a big team of people, who are often working on the same projects, so having everyone together saves time and makes the whole process run smoothly.”

COMPANY PROFILE: Production Park

WHO CALLS PRODUCTION PARK HOME?

LS-LIVE BRILLIANT STAGES

Having developed an unparralelled reputation of producing complex, custom set design and fabrication projects within the concert touring marketplace, Brilliant Stages is embarking on an ambitious move to new purpose-built facilities on Production Park and will be up and running on the site by the end of November 2015. With a client list including U2, Muse, Take That, Lady Gaga and Robbie Williams, Brilliant Stages is clearly at the forefront of the high end touring circuit. Managing Director of Brilliant Stages, Tony Bowern commented on the decision to move to Production Park: “For Brilliant Stages it made sense to relocate to Production Park and share the widest possible resources. It is also a great way to move Brilliant Stages into the future with a fresh start using the up and coming young talent we now employ.” Ben Brooks, Director of Concert Touring for Brilliant Stages added: “It is clear that the exceptional knowledge base, staff dedication and reputation of Brilliant Stages can be scaled to even further heights. The business has a plethora of enquiries demanding their unique technology and approach, and this move gives them both a stunning new facility and reinforced supply chain to drive forward the growth.”

LITESTRUCTURES Voted Favourite Rehearsal Facillity and Favourite Staging Company at the 2013 TPi Awards, LS-Live manages five different studio spaces across Production Park providing options for any size of production. From the 940 sq ft Studio 005 designed for full band rehearsal or meeting areas all the way up to the Studio 001, an 68ft tall rehearsal studio capable of catering for the largest area tour packages. Studio 001 has been built from the ground up with the focus that any production coming to Production Park can be catered for, with the complex including its own kitchen, greenroom, gymnasium and 14 bedroom hotel. Ben Brooks, who also heads up Concert Touring at LS-Live commented on the increased expansion seen at Production Park: “LS-Live has benefitted hugely from the expansion of the Production Park. We have decided to move into a new purposebuilt rental warehouse with ‘drive-thru’ facilities, and invested in two new studio spaces focussed on providing cost effective rehearsal spaces. We have also relocated our offices into the main Production Park office alongside our warehouse so operationally we will see great benefits.” He also commented how LS-Live has seen increased interest since the expansion of the site, and elaborated: “We are already seeing productions using our studio and asking what other services are available on site. This has translated into tours coming here, to use our studio and ended up taking things out on tour with them from the rental department. We have directly had people contacting us asking about the Production Park and how they might be able to benefit or even get involved.”

Litestructures has a long history with the site, moving there in 1998 and effectively sowing the seeds that grew into Production Park. Recently the company has moved away from its rock ‘n’ roll origins and now focuses more on art, brand and sport projects. This is exemplified most recently by a collaboration with artist Alex Chinneck, creating a 36 metre electricity pylon and inverting in on Greenwich Peninsula as a centre piece for London Design Festival. The year 2015 has seen the business go from strength to strength, serving world class brands such as Mercedes AMG Petronas Formula One team, Monster Energy and Nissan alongside developing art work for artists such as Frank Stella and Not Vital. “I, alongside the business, really grew up in this location so it is fantastic to see the relentless development of Production Park,” said James Chapman, Project Director of Litestructures. “We really look forward to the expanding supply chain made possible by new park residents, and to involving them in future projects.”

TPi FESTIVAL SPECIAL

FESTIVAL SPECIAL RAMBLIN’ MAN FAIR

PRG Equal measures of sunny skies and pelting rain greeted more than 20,000 fans at the inaugural Ramblin’ Man Fair, a familyfriendly festival of rock, blues and country music at Maidstone’s Mote Park in the heart of Kent. The new festival was fully supported by Production Resource Group (PRG) who provided lighting, LED video screens, rigging, motion control and crew to all three stages. Trading as The Rock Collective, Abbie Marshall and Gary Turner, part of the team behind the High Voltage festival, organised Ramblin’ Man Fair in partnership with media sponsor TeamRock and VIP package specialist The Halo Group. Turner said: “The UK’s existing rock festivals tend to be aimed at young people and this leaves a relatively large, untapped demographic of mature music fans. Abbie and I wanted to design a ‘heritage’ themed festival on an attractive green field site that would be comfortable for our friends and family. After searching the whole of the country for the ideal location, we discovered Mote Park - a 450-acre site within easy reach of London and continental Europe. It provides easy access for vehicles and is close to local hotels. Everything xx 76

about it was perfect. We just could have done with better weather!” As account executive, Andy Strachan drove the project for PRG, organising tailored systems for the three distinct stages. The main Classic Rock stage - starring veteran headliners Scorpions and Gregg Allman, as well as Dream Theater, Seasick Steve, Rival Sons, The Temperance Movement and Blue Öyster Cult amongst others - proved to be a fine showcase for PRG’s proprietary Best Boy HP Spot. A total of 15 were on duty along with 12 Clay Paky Sharpy beam lights, 22 Clay Paky Stormy RGBW strobes, 28 GLP impression X4 LED Wash, 10 4-Lite 2x2 Molephays and four Lycian longthrow 2.5kW followspots. “From PRG’s point of view, we’ve been able to use a good mix of leading brand hardware and our proprietary fixtures,” commented PRG’s on-site manager and main stage crew chief Gordon Torrington. “The Best Boy HP Spot uses a 1,500W HTI lamp and has almost two times the brightness of the original Best Boy 4000 Spot, and it’s really stood up well against the very changeable weather and humidity. Even though LDs were constantly flashing them all day, they remained on top form.” For the main stage, Cy Dodimead operated

a High End Systems Hog 4 console with a full-size wing that was accommodate visiting LDs’ consoles from ChamSys, Avolites and MA Lighting. His fellow crew included System Techs Jamie Gorman and Nick Knowles, and Chris Davis who ran a Kinesys motion control system to lift the Scorpions’ drum riser. The main stage was also notable for PRG’s supply of a 16 metre wide by 404cm high upstage video screen built from 54 2x3 PRG Nocturne V-18 LED modules. The screen was managed by Technicians Stevie Marr and Tom Prew. Torrington said: “Our screen has been used by Scorpions and Gregg Allman. While the other acts didn’t require video support, many came equipped with their own large backdrops that we hung from the rear truss. I think it’s good for both the festival and PRG that we have been able to provide lighting and video because we’re all working as one unit, we can help each other and it means that production only needs to liaise with myself.” Equipped with around 50 moving heads (Philips Vari-Lite VL3000s and Clay Paky Sharpy beams), the Prog stage presented such artists as Camel, Marillion, Jethro Tull’s Ian Anderson, Riverside and Anathema, and was arguably the

FESTIVAL SPECIAL: Ramblin’ Man Fair

Neil McDonald

most interesting of all three stages from PRG’s perspective. “While it is officially Stage Two, the demands of some of the acts have been greater and more specific than any of those on the main stage,” Torrington explained. “We’ve certainly seen more visiting LDs from Prog stage artists and more in the way of preparation. We have had to bring in additional floor lighting for Marillion, whose crew were supremely diligent, having come in two nights in advance of their headline spot to programme their lighting. Fortunately, we were able to ship all our rigging equipment here early so that all the motors were already in place when our four trucks arrived to start the load-in.” Sam Healey headed the Prog stage crew. Among them were Systems Tech Alex Peters and, fresh from touring with Ed Sheeran, operator Paul Smith who manned an MA Lighting grandMA2 full-size desk which, like the Hog 4, was able to take any incoming console. The remainder of the lighting rig included GLP impression X4 LED washes, Martin Professional Atomic 3000 strobes, 1kW Fresnels and assorted Molefay blinders. Despite being positioned within a relatively short walking distance of each other, there appeared to be little interference to adjacent performances. This was especially the case for the Big Top, which accommodated the Outlaw Country music bill on the Saturday, with leading acts Jason & The Scorchers, Hayseed Dixie and Shooter Jennings, and Sunday’s Blues stage, starring Bernie Marsden, Joanne Shaw Taylor, Bad Company’s Mick Ralphs and Danny Bryant. Dana Read operated a ChamSys MagicQ 100 and wing in the Big Top, supported by Systems Tech Tom Harris.

Torrington said: “The Big Top had more of a tungsten feel about it. There’s no ground support for any flown fixtures, so we’ve used free-standing towers and floor lighting. We’ve gone for Philips Vari-Lite VL2000 washes and the classic PRG VL6c+ to add gobo movement, PARs for some added colour, Chromlech Elidy-S 5x5 LED panels surrounding the upstage show logo banner, and GLP X4s. It’s all about creating an attractive, relaxed environment that fits the vintage feel of the music on that stage. In a way, it’s the polar opposite of the big, flashy light show. “It has been quite an experience for some of the country and blues acts to have our guys design something completely new and give a different angle to their live performance. Those acts have gone away with a fresh outlook on how they present themselves. I am very proud of our team. The guys are so capable of running the stages that it allows me to spend time with the client, speak to the visiting LDs and advance the next show.” Reviewing the weekend, Ramblin’ Man Festival Production Manager Neil McDonald said: “We had three days of very erratic weather. Loading in on Friday was met with high winds and a torrential downpour of biblical proportions. I hadn’t experienced conditions like that during a summer for many years and it’s very fortunate that the site has a gentle slope, otherwise we could have been in real trouble. By contrast, Saturday was mostly warm and sunny, which helped to dry out the site but, unfortunately, heavy rain returned on Sunday and only began to subside in the evening. “For a brand new event, Ramblin’ Man Fair went fantastically well and I certainly hope that the event succeeds on a long-term basis, if only

because of the sheer amount of hard work that has gone into it. There will undoubtedly be some fine adjustments but there is a very good team in place who know their market. They could have cut a few corners and spent less on production, but it was clear that the organisers wanted the best contractors available, in line with the general aspirations of the event.” McDonald was keen to praise the work of PRG at Ramblin’ Man Fair. “With Torrington heading up his core PRG team, we have spent the best part of the summer together, having also worked on Electric Daisy Carnival, Download and Wireless, and it’s always a pleasure,” he said. “It makes such a difference to me when a supplier goes all out to make things work for everyone, and PRG does that. Torrington is the glue that holds so much together. He’s a very strong administrator for any project and his level of assistance and artist liaison skills are absolutely vital to me. This festival, in particular, was a job very well done.” As the load-out of Mote Park was complete, PRG’s Andy Strachan took a moment to reflect. He summarised: “From when we first came onboard, Ramblin’ Man Fair was a great festival to be involved with and the end results were really amazing. McDonald was a pleasure to work with. His calm and collected demeanour helped everything to come together perfectly. All three stages looked magnificent and the Scorpions’ headline show on Saturday night certainly rocked! Our lighting and video teams did us proud, and I congratulate the organisers on their fantastic launch of an event that deserves to have a glowing future.” TPi www.prg.com/uk www.ramblinmanfair.com 77

FESTIVAL SPECIAL: Secret Garden Party

SECRET GARDEN PARTY

NEWSUBSTANCE NEWSUBSTANCE reunited its partnership with R5 Air Displays and the CAA General Aviation Unit to deploy 10,000 Falling Stars - LED synthetic paper helicopters - over a jubilant capacity crowd as part of the Saturday night spectacle at this year’s Secret Garden Party. Having made a small piece of UK aviation history in 2014 with their debut UK activation, NEWSUBSTANCE returned to the Secret Garden Party Festival in Cambridgeshire, this time with the double the volume of stars. Two powered paragliders (PPGs) flown by specially-trained pilots, climbed to their holding position at 1,000ft above the festival site. On cue they entered their on-stage position at 800ft, whereupon 10,000 Falling Stars were deployed, spinning gently down over the crowd to stunning effect. NEWSUBSTANCE developed this product in late 2013 with the CAA involved from the

outset. The LED and associated synthetic ‘sycamore’ wing have been progressively developed to reduce mass and increase aerodynamics as they are dispensed NEWSUBSTANCE has previously executed a static stadium drop at the first European Games in Baku and has previously used the PPG delivery system in the Middle East but required approvals for such use in the UK. Following a series of drop trials and pilot training the project was given the go-ahead in 2014 and the various authorisations and exemptions were issued. This larger 2015 Falling Stars activation once again proved a huge success with gardeners and festival organisers alike. “Falling Stars was once again a smash hit at this year’s festival,” said Freddie Fellows, Festival Director for Secret Garden Party. “We never stand still and pride ourselves on constantly evolving and developing concepts; together

with NEWSUBSTANCE we made UK aviation history last year with this offering and it was exciting to see it scaled up this year with two pilots in the air creating a stunning sky full of stars.” NEWSUBSTANCE’s Creative Director Patrick O’Mahony added: “We were delighted to have the opportunity to return to this fantastic festival and partner with Freddie and his production crew. It was a bold move to increase the volume of stars and in turn pilots in the sky but the effect and reaction on the night made it all worthwhile. Once again we are indebted to the CAA for their continued support of this activity and we look forward to future deployments of this versatile product.” TPi Photo: Andrew Whitton 2016.secretgardenparty.com www.newsubstance.co.uk

FESTIVAL SPECIAL: Beat-Herder

BEAT-HERDER Celebrating its 10th anniversary in 2015, the Beat-Herder Festival showcases an eclectic mix of music and performance art spread across 17 separate venues within a working farm near Clitheroe, Lancashire. Acts included Basement Jaxx & Erol Alkan. Main stage sound contractor, Audile, deployed an Outline loudspeaker system comprising a nine-per-side design of Outline’s new GTO C-12 compact line-source elements, with 16 DBS 18-2 subwoofer modules delivering the low-frequencies and six Mantas enclosures as front fills. The entire system was powered and controlled by just six Powersoft X8 amplifiers with onboard Outline-developed DSP. During the system build-up, Outline’s Open Array software was used for prediction and system alignment. Rich Soper of CUK, Outline’s UK distributor, said: “An event like this is a good test of any system as it has to handle everything from DJ sets to electronica, acoustic folk and full-on rock acts, which the Outline rig did without any drama at all. It was also the first time that a GTO C-12 system has been out in the UK powered only by Powersoft’s X-series amplification

OUTLINE

with onboard DSP, which is so compact and lightweight it’s hard to believe the specs - eight channels, each producing 5.2Kw in 2U of rack space, with world-class DSP control. An arena tour could easily run off two amp racks!” Jonny Wharton, FOH for The Mouse Outfit, commented: “I recently used the Outline GTO C-12 system at The Beat-Herder, and found the system provided highly consistent coverage across the performance area and despite the high winds on site the HF was incredibly controlled. The sub array was also very consistent with tight punchy kick and great bottom end which is ideal for the style of hip-hop The Mouse Outfit play. I would put the Outline GTO C-12 in the top five systems I have worked on in recent years and would be happy to see it on any riders in the future.” Audile’s Rob Ashworth summed up the Outline and Beat-Herder experience by saying: “It’s always a pleasure to try a new system, and the GTO C-12 was no exception. “I’d heard good results from Outline speakers in the past, and heard good feedback on the GTO generally, so was keen to give the C-12 system a real-world test. We were

immediately impressed with the rigging system, which is very well thought out, making it fast and simple to get hangs in the air. And we were also extremely impressed with the power density of the system, both in terms of the GTO C-12 boxes themselves which have incredible output for their size and weight, and in terms of the Powersoft amp racks.” “To be able to run a system of this size from two small amp racks is incredible! The DBS 18-2 subs did a fine job too - the system as a whole really can throw, with nothing missing towards the back of the coverage field.” TPi www.beatherder.co.uk www.outline.it www.cuk-audio.com www.audile.co.uk

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FESTIVAL SPECIAL: Sónar Día

SÓNAR DÍA

d&b audiotechnik

Sónar Día’s main stage, Sónar Village, is surrounded by high walls, which presented a distinct challenge for Barcelona-based sound provider Tour Serveis. “This was why the moment we realised the potential of d&b audiotechnik’s new ArrayProcessing tool, we wanted to use it here,” said System Technician Josan Bravo. The Sónar Village audience area is wider than long: the main system throws 60 metres. The width of audience area is around 140 metres, but only 75 metres is covered by sound, as required by Sónar. The surrounding buildings are part of the Barcelona Expo complex and are, on average, 20 metres tall; the building directly opposite the stage also features large areas of glass. “It’s a system technician’s nightmare,” said Bravo. “I have worked this festival before,” he continued. “Tour Serveis provided d&b systems for two live music stages this year and we have decided to use J-Series for the main stage, Sónar Village. Technical managers put great emphasis on addressing the negative influence of the architectural reverb, so we aimed the system properly and took advantage

of ArrayProcessing’s benefits in order to keep energy off the back wall. “It has proved to be a remarkable improvement of the audio experience for the audience, and a better work experience for the FOH mix engineer and the artists that performed on stage. ArrayProcessing offered the potential to control the vertical dispersion of the system and allowed us to cover the audience properly all the way to the back, and still eliminate reflections off the back wall.” Working with Jonas ‘Jones’ Wagner from d&b Education and Application Support, and with support from Juanma De Casas from d&b’s Spanish office, Bravo jumped straight into his first ArrayProcessing gig like it was a cold pool at the end of a long hot day. He said: “We configured ArrayProcessing for a big reduction of the SPL at 55 metres from stage. It was amazing. If you listen to the system in the stage position without ArrayProcessing it’s like an audio mirror in front of you. When ArrayProcessing is on that reflection just disappears.” Wagner continued: “The system was J-Series mains left right, with V-Series off to the sides.

Low end was all ground stacked and arrayed, a mix of J-SUBs and J-INFRAs.” Bravo was also pleased to find that engaging with what appeared to be a complex issue in terms of audio system management was so straightforward. He explained: “Workflow is quite quick and simple. You have to draw your venue and design your sound system as usual in ArrayCalc. Then you can add a few predetermined ‘slots’ with different ArrayProcessing targets, targets that you have determined as possible solutions to your problem. You then listen to them and you can change or adapt ArrayProcessing’s parameters if required, depending on desired results.” Bravo added: “Besides stopping those reflections dead, now, for me tuning is faster. For example when you use ArrayProcessing the target frequency response is fixed according to d&b sonic expectations. What does that mean in reality? A fill system still sounds different than the main system because a fill speaker like a Y7P has an even, linear frequency response, the target response of the arrays has more low mid. But it means that the frequency response all over the audience area is the same, it just differs by the level drop per doubling the distance, which can be defined in the ArrayProcessing calculation.” Overall, Bravo reiterated that he holds ArrayProcessing as an extra positive to d&b value - an optional tool that takes consistency and homogeneity to a new level. He concluded: “For me, in the future there are some venues, especially where you encounter sloped floors or balconies, where this would be mandatory. For Sónar festival ArrayProcessing has been decisive. Avoiding back wall reflections has launched sound concept to a new level.” TPi https://sonar.es/es www.tourserveis.com www.dbaudio.com

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FESTIVAL SPECIAL: V Festival

V FESTIVAL

SHOWSEC Crowd management and event security specialists Showsec mounted an extensive operation with the emphasis very much on delivering a safe and enjoyable environment to ensure that V Festival’s 20th birthday was a memorable occasion. A crucial element of the operation was Showsec’s close liaison with the Staffordshire Police, which maximised the impact of crime reduction measures, while its specialist services were enhanced by the rollout of a new training programme. Festival Organiser, Andy Redhead, spoke of the success of Showsec and focused on the significance of all the agencies and services working together seamlessly to create an experience that could live up to expectations. “It’s been a hugely successful event for us at Weston Park once again,” he commented. “That’s by no small effort from all the agencies and services involved in supporting us in the organisation and running of the weekend.” Superintendent Elliott Sharrad-Williams, Staffordshire Police’s Lead Event Commander, highlighted the effect of their liaison with Showsec in echoing those views and pointing to another satisfying outcome in terms of crime statistics. “Crime has again remained low with only 70 crimes reported,” he said. “There has been an increase in the number of arrests, 30 people compared to 19 in 2014, but that was for a variety of offences due largely to the proactive work of the security team, and both uniformed and plain clothed officers working 84

with them. This has been a real team effort. Event management, security teams and dozens of other partners have worked together to make the weekend such a safe and successful event. We are very pleased with this year’s policing operation.” Showsec identified that its much-acclaimed Crime Reduction Strategy could have an even greater impact at V Festival if it increased the range of skills and knowledge of its workforce for those specific operations at Weston Park. In an ongoing commitment to raising its standards of service, the company introduced modules to provide standardised training in three specific areas of crime reduction, namely Enhanced Search, Incident Response and Ejection Centre. Mark Logan, Director of Showsec and Head of Security at V Festival commented: “Crime reduction now forms part of the core duties at festivals and is instrumental in keeping the audience, client and staff members safe. By undertaking these modules, each and every staff member is not only helping Showsec to provide a higher level of service, they are also enhancing their ability to reduce crime and make them a more versatile asset to the company. “We had 1,400 staff working on site across the weekend and almost 25% of them had completed all three aspects of this specialised training before the festival, putting us in a much stronger position to take our Crime Reduction Strategy to a new level in terms of the impact which it can have on these occasions.”

He added: “We worked in partnership with Staffordshire Police and the promoters to deliver a safe and fun-filled weekend for all. Despite the rain, thunder and lightning, everyone managed to stay focused on providing a strong service with the customer’s enjoyment at the heart of it all.” Logan drew on the support of a strong management team across all areas of the operation at Weston Park and this ensured that leadership on the ground provided a high level of direction, which was reflected in the overall performance. Ieuan Fury, Showsec’s Area Manager for the West Midlands, was Project Manager at V Festival and he stated: “This was the third year that we have provided our crowd management and security services for the West Park event. This was our most effective and successful year yet. A significant reason for that was that we used the experiences of previous V Festivals as a learning tool in ensuring that the service level improves its quality year-on-year. “The trends of past events have an influence upon our crime reduction measures and we hand pick supervisors to ensure they have the knowledge, experience and qualifications as additional support for the Crime Reduction Strategy. These supervisors are then able to feed their knowledge to stewards and SIA staff within their teams.” TPi www.vfestival.com www.showsec.co.uk

FESTIVAL SPECIAL: V Festival

MOJO BARRIERS This year saw the 14th anniversary of Mojo Barriers’ long-standing relationship working at V Festival, supplying over 1,300 metres of safety barriers at both festival sites at Hylands Park, Chelmsford and Weston Park, Staffordshire. As one of Mojo Barriers’ largest annual events, V Festival organisers entrusted it with supplying over 700 metres of stage barrier to ensure crowd safety around every stage at the Chelmsford venue, including barrier protection around sponsor areas. In addition to the stock inventory supplied to the southern venue, 250 metres of bar barriers were also provided to

both venues, constructing public concessions such as food, drink and other retail outlets. Mojo Barriers also supplied 128 metres of stage barriers to control large crowd pressures around stage one and two at Staffordshire’s Weston Park location. Kevin Thorborn, of Mojo Barriers UK, said: “We enjoy a great relationship with Simon Forshaw and the management team at V Festival, who have always shared our passion to create safe festival sites. Their site layouts don’t require complex barrier configurations given their audiences, but it’s never taken for granted and we consider each stage every year.

“We have a dedicated V Festival team of six staff responsible for the smooth installation of barriers at both venues, bolstered with another four staff to ensure a rapid load out of all kit earmarked for the next event in our busy summer events calendar.” Across the same weekend, Mojo Barriers’ European offering supplied crowd safety barriers for Belgium’s Pukkelpop alternative music festival and Lowlands festival in the Netherlands. TPi www.vfestival.com www.mojobarriers.com

FESTIVAL SPECIAL: Bingley Music Live

BINGLEY MUSIC LIVE

ACORN EVENTS & ZIG ZAG LIGHTING

Zig Zag Lighting has been involved with Bingley Music Live, or Music at Myrtle Park as it was formally known, since its inception over 20 years ago. Bradford-based PA company Coast to Coast was responsible for its introduction. Zig Zag’s Tom Clifford-Loynes said: “We love this festival as it finishes off the season for us with such a friendly atmosphere. All the crew and production staff for the council know each other and have worked on the event for years. We hope to be able to provide the lighting for the event going forward and will always go the extra mile to ensure we can continue to work together with the happy family that is the Bingley Music Live team.” The company provided Robe Robin BMFL Spots, Robin 600 LED Washes, Pointes, Robin 100 LED Beams, Elation Professional Platinum Beam 5Rs and Martin Professional Atomic Strobes for the main stage, as well as 2 Cell Blinders, 8 Cell Blinders, Robe ColorWash 700E ATs and 6 Way PAR 64 IWBs. Control came in the form of an Avolites Pearl 86

Expert with Touch Wing and a ChamSys MQ100 with Extra Wing. Zig Zag also provided all the truss and rigging for lighting and video, with a total of 27 hoists. Clifford-Loynes was joined on the main stage by Zig Zag’s Mick Thornton and Mike Blundell. The design for this year’s rig consisted of all three headliners specs being merged into one so that we had no overnight changes to do and to keep to budget. Regarding his team, Clifford-Loynes commented: “Mick Thornton is a local man and a well-known LD - currently working with clients as diverse as the Moody Blues and Opeth. He was the perfect choice for festival LD and operated the system for the numerous acts who did not have their own LDs.” Zig Zag also provided a floor package for Labrinth consisting of eight Robe Robin Pointes and supplied Super Furry Animals with eight Robe Robin Pointes, six 600 LED Washes and a Robe ColorWash 700E AT. “This year’s event went very smoothly for us,” Clifford-Loyned said. “We always look to

find ways to improve the service we provide and the results we achieve and look forward to making each year’s event better than the last. Acorn Events supplied two stages for the festival, plus ancillary structures. The Space Roof stage, Acorn’s flexible modular structure featuring a large load capacity capable of up to 60kg PA and lighting, was on show, as well as the company’s standard, the Midi Stage Roof. The FOH structure, delay towers, and accessible viewing platforms were also supplied by Acorn. Acorn’s Emma Petty said: “We have been working with City of Bradford Council, a local client of ours, for a number of years now to provide the staging for Bingley Music Live. We have built a good relationship with the festival, having tweaked certain elements of the staging to accommodate the festival’s needs over the years.” TPi Photo: Dave Hudspeth www.bingleymusiclive.com www.zigzaglighting.co.uk www.acorn-events.com

FESTIVAL SPECIAL: Bestival

BESTIVAL MIDAS

Fuelled by Green D+, Midas Productions powered Bestival’s campsites with 21km of LED festoon lighting and a record-breaking disco ball generating more kVA but cutting costs and emissions in the process. Situated at the top of the route into the festival arena, and visible from all the main campsites, Midas inflated NEWSUBSTANCE’s mirror tile-covered PVC bladder to 10.33 metres, 35cm bigger than the previous disco ball record holder, and kept it at size via a bespoke pressure management system. Andy Dann, Operations Director at Midas, commented: “The Guinness World Record was a fantastic achievement for Bestival and it was a pleasure to keep the ball in shape and to bring Green D+ to the event for the first time.” Introduced to the market this year, Green D+ is cleaner on the generator than red diesel and produces 35% less NOx and 85% less particulates. Extensive testing saw it take a Tier

I generator to Tier IIIA for NOx and a Tier II generator to Tier V for particulates. Midas developed the UK’s only fleet of biodiesel generators tailored to the event industry and the progress has continued. Midas was the first temporary power company to

switch on to European fuel Green D+, a drop-in renewable that massively outperforms both bio and fossil diesel. TPi www.bestival.net www.midas-uk.co.uk

FESTIVAL SPECIAL: Boardmasters & OVO Festival

BOARDMASTERS

VIDEO DESIGN The annual Boardmasters festival always promises two things: long days in the sun and surf, and several nights of live music. Grown from small beginnings in 1981, Boardmasters has become the epitome of boutique festivals. Providing a packed day and night of events delivering a feast for all the senses, not least visuals thanks to the work of Video Design.

“We’re doing something quite different at the Unleashed stage in the Big Top this year”, said Rhodri Shaw, Project Manager of Video Design. “That’s as well as provide the big IMAG screens for the main stage.” Shaw has been instrumental in driving the development of LED at Boardmasters which has not been a simple task. “The Unleashed stage is a saturation situation with pumping music from the likes of

Groove Armada and Roni Size. The designers asked that we provide great arches skinned with LED screen modules down the length of the tent to exaggerate the visual dynamic. “We commissioned some custom metalwork to make this look as slick as possible; coupled with our 9mm high definition LED modules and streamed with light and content, the arches appear to almost dangle in the air.” This year’s main stage, which played host to acts such as Bastille, Rudimental and Faithless, also had presented some challenge on the visual front. Shaw explained: “The screens are all IP65 as you’d expect, but the real challenge was dealing with the varying light levels. The main stage had the sun behind it for most of the afternoon, so we needed to ramp levels up, gradually winding them down again as the sunset. But not long after it set, a coastal mist tended to develop so you can’t just walk away when it gets dark. You need to monitor output, gently raising as was required to cut through the mist. When you’ve got 25,000 people watching, you’ve got to stay on the case. It’s a very vibey atmosphere at Boardmasters and we aim to keep it that way.” TPi www.boardmasters.co.uk www.video-design.co.uk

OVO FESTIVAL ACASS-SYSTEMS The OVO (October’s Very Own) Fest is an annual festival in Drake’s hometown of Toronto, Ontario. Thousands of festivalgoers attend this iconic event to hear an exclusive lineup of artists. August 2015 marked the Sixth Annual OVO Fest, where Drake took the stage with guest stars Kanye West and Pharrell Williams at the Molson Canadian Amphitheatre. Drake’s team counted on ACASS-SYSTEMS to design a massive, one-of-a-kind LED wall that was versatile and programmable, yet built to conveniently take on the road. In only three weeks, ACASS-SYSTEMS and the Drake team were able to create a VersaTube support system capable of generating a world-class, and powerful live experience. The nine metre by 16 metre truss-supported LED wall is elegant, easily deployed, and has a flexible, modular design. It was built using lightweight aluminum frames with quick release latches to simplify installation. The frames were machined in-house to ensure precise population of the LED components. 88

Drake’s team was so pleased with the quality of the final product that they will continue to use it on tour. ACASS-SYSTEMS’ efficient process of design, manufacturing, and assembly, along with Drake’s vision, and confidence in the ACASS-SYSTEMS team, made

the successful production and implementation of the support wall possible. TPi Photo: Charlie Lindsay www.acass-systems.com

Still showing the way at Camp Bestival, Lulworth Castle, Dorset

Who offered a helping hand? Showsec, of course. We provide much more than effective security. We create a safe atmosphere for all visitors and act for the organisers to handle enquiries from the public.

Showsec are an award winning event and venue security specialist who have been raising standards in crowd management for nearly 40 years. Continued investment in bespoke training and customer-friendly service has created an industry benchmark for professionalism. It also helps to explain why, after so long at the top, Showsec are still showing the way.

T: +44(0) 116 204 3333 E: marketing@showsec.co.uk Crowd Management

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FESTIVAL SPECIAL: Victorious Festival

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Portsmouth’s Nevada Music chose an FBT line array system for the acoustic stage at this year’s Victorious festival, held on Southsea sea front on 29 and 30 August. Victorious, which has been held in Portsmouth for the past four years, hosted nine stages for this year’s event. The acoustic stage was sponsored by local music retail and rental store Nevada Music. With visitor numbers rising every year since its inception, Victorious festival managed to attract an impressive line up including Flaming Lips, Primal Scream and The Fratellis on Saturday and The Darkness, Super Furry Animals and Ray Davies on the Sunday. Other artists included Johnny Marr and Basement Jaxx. Matt Morey, Nevada’s PA and Live Sound Specialist explained: “Our headliner on the Nevada Acoustic Saturday was Grant Nicholas from Feeder, and Ben Ottewell, who was the lead singer from Gomez, on the Sunday night. We’ve been working with FBT UK for the past few years and they

were natural choice to supply the ground stacked line array for this event.” The FOH system comprised four a side of FBT’s MUSE 210LA, ground stacked, with four FBT MITUS 218SA along the front of the stage. Stage monitoring for vocals was handled by four FBT PROMAXX 14As and the sum monitoring comprised one FBT VERVE 115MA and one FBT SUBLINE 18SA. “It was great,” said Morey. “The throw was better than a comparable point source system, as you would expect, and it worked really well. The artists were all very happy with the sound, including a couple of acts who brought their own engineers with them. Even when we were running full bands through it, the system didn’t run out of steam. For an active rig it performed well with no need for an external processor - for a throw up and play system it certainly held its own.” TPi www.victoriousfestival.co.uk www.fbtaudio.co.uk

FESTIVAL SPECIAL: Reading and Leeds

READING AND LEEDS EAT TO THE BEAT Two experienced Eat to The Beat teams headed back to Reading and Leeds to provide crew and artist catering for yet another unforgettable and action-packed year. Since the Beastie Boys were headlining back in 1998, ETTB has been catering Reading Festival, shortly followed by Leeds. This year, a strong team led by Operations Manager Blaise Vasseur, was onsite at Reading Festival, taking on the impressive task of serving over 10,000 meals throughout the weekend. Another team led by ETTB’s Pauline Austin was onsite at Leeds, which also served over 10,000 meals. As always, a hugely varied menu selection was on offer throughout each festival, with everything from North African beef stew to those allimportant fish fillet wraps with tartar sauce, which are always high on the menu year in, year out. There was also an abundance of fresh fruit

and salad. Eat To The Beat’s Operations Manager, Susanne Howell explained: ‘‘Having personally been involved with operating the logistics of Reading and Leeds for the past nine years, the festivals are always something I look forward to. “Although they run simultaneously to one another sharing the same headliners, at ETTB I work them as two totally separate jobs. Crew and artist catering at Leeds Festival is run as two

completely separate kitchens and two separate dining areas, whereas Reading Festival has a combined crew and artist kitchen and dining area. Whilst both festivals can be logistically challenging, they are both enjoyable and we love returning to the festival sites each year.” TPi www.readingfestival.com www.leedsfestival.com www.eattothebeat.com

FESTIVAL SPECIAL: Reading and Leeds

READING AND LEEDS JANDS

Hot on the heels of their headline wembley show, the UK’s Bring Me the Horizon played high-profile main stage slots at the iconic Reading and Leeds Festivals with a brand new lighting design by Ben Inskip, controlled by Jands’ flagship Vista L5 console. LD Inskip said: “We had the ‘sunset’ main support slot to Metallica, so I really wanted to impress and make the house rig and our floor package look like one design. “My choice to use the Jands Vista L5 was instant. We didn’t get to see the house rig until quite late on in the rehearsal process, so I needed to pre-programme and then adapt it only a day or two before the first show. Therefore, I needed a console that could handle large amounts of fixture exchanges without the need for any further time consuming alterations from myself.” Vista utilises a generic fixture model throughout its software, which means it actually understands how each fixture works. This

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FESTIVAL SPECIAL: Reading and Leeds

enables the intended programmed look to be automatically transferred if a fixture change occurs. Providing quick, hassle-free and accurate fixture swapping proved a perfect solution when incorporating a house rig into an existing design, or when a tour picks up local production. In addition, the ability to work fast means that LDs can focus on creating a great looking show rather than on programming a console. Inskip built the new show on an Apple Macbook and Jands Vista S1 control surface, which utilises the exact same software as found on the L5. During the festival performances the Macbook and S1 combination provided a full tracking backup solution. Inskip continued: “Networking the L5 and backup S1 into the festival system took all of about 30 seconds. All of my pre-programmed cues and effects instantly came to life, which made for a really stress-free weekend.” In addition to having plenty of computing power to deal with the demands of today’s largest shows, the Vista L5’s sleek design is dominated by a stunning 21-inch HD Wacom tablet that provides a crisp, detailed image of its graphical user interface. “Having the bigger screen in the L5 meant I absolutely flew through getting the house system doing exactly what I had pre-

programmed,” commented Inskip. The LD went on to explain how the Vista’s usability pushed him to be more creative in the live shows: “Having so many quick tools to alter every attribute’s behaviour so speedily actually encourages me to experiment and programme in those finer details. Vista definitely makes my shows more complex without becoming confusing to navigate. In my opinion, this sets Vista apart from other consoles because you can see and tweak absolutely everything that is

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going on with complete creative freedom.” Inskip envisages taking the Vista L5 with the band for their autumn shows. “The L5 is great to tour with. It feels really sturdy and responsive, and offers so much workspace to handle any size of lighting system.” TPi www.readingfestival.com www.leedsfestival.com www.jands.com/lighting

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EXPO: PRO

Despite 2015 only being the PRO Performance and Venue Technology Show’s second year, the successful event saw big-name exhibitors, new feature areas and an expansive educational programme draw in a broad range of visitors from the entertainment technology industry. The PRO panels in particular saw a great deal of spirited discussion and played host to some of the industry’s most influential talking heads, moderated by Editor of TPi, Kelly Murray.

ARCADIA: A CASE STUDY

Tom Wall - Blinkin Lab • Tim Smith - Arcadia Technical Director • Steve Warren - Avolites Selvin Cooper - Spider Mapper • Bryn Williams - Light Initiative The term rave culture may conjure up images of abandoned warehouses and grotty basement venues, but in recent years, the team behind Arcadia - an incredible stage structure and Glastonbury mainstay (see Pg.60 for its latest UK event) - has pushed the realms of what is possible from a unique electronic music production. During this case study, one of the most talked about subjects was the importance of unity, due to the inclusive nature of the show, from the audience to the collaborative efforts of the technical and creative production teams. Tom Wall of Blinkin Lab explained how the show always requires a great deal of collaboration between departments: “It’s all about leaving space for the other department at appropriate times and not battling each other so that we work as one.” The main highlight of any Arcadia experience is the Metamorphosis show, which is timecoded down to the second. Tim Smith, Technical Director detailed the development of Arcadia’s bespoke control system, which allows the multi-tracking of every effect in the show to be time aligned. “Its not a standard timecode control system and it has taken a long time to get where it is today, but it’s very reliable,” he said. Selvin Cooper, a freelance media server expert, stated: “It’s not just about the main Metamorphosis show though, at either side of that performance we deliver experiences that really help to move the show forward, and keep it exciting.” Smith furthered: “The hardest thing is often 96

deciding which ideas to go with, this year costume played a big part in the show’s overall visual look.” Indeed, LED costumes created by Light Initiative were designed and manufactured by Bryn Williams and his team. They developed a never-seen-before flexible yet robust LED solution. As well as these intricate costumes, some aerial performers also had pyrotechnics attached to their boots, which were triggered while they were suspended above the crowd. The panel all agreed that safety is the number one factor in their creative and technical work. Avolites’ Steve Warren - who provides immense lighting and media server tech support to the Arcadia team expressed how impressed he always is with Arcadia’s intense focus on safety, which in turn allows for some of the creative brilliance of the production to take shape. Smith expanded: “Everyone trusts each member of the crew implicitly. We do dangerous things very safely and work with our performers during every step of the way. Glastonbury actually looks to us now as they develop new H&S rules across the site.” As the Arcadia spectacle grows, its emphasis on independence is standing firm, and there will be no commercial sponsors any time soon. Smith concluded: “The organisers don’t ever want to sell out or be swallowed up by a big corporate company. It’s about educating people what a real rave can be, no matter how big it gets.”

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CDC six Features

CDC six is the latest in the digital console line up from Cadac, featuring 64 inputs and 48 configurable busses all accessed via a 23.5” 16:9 optically bonded touch screen.

S Features Cadac’s unique “high agility” control surface S Highly acclaimed Cadac mic-preamps S Less than 400μs from stage through the console to outputs on stage S 32/40-bit floating point SHARC processors S 64 input channels S 48 configurable output busses plus LCR S 16 VCA groups and 8 Mute groups S Monitor Mode for unprecident speed of access to mulitple mixes S Waves integration S Multilingual user definable labelling S Optional MegaCOMMS Router gives up to 3072 channels in one network including multi console gain compensation

The screen displays the innovative and widely acclaimed “high agility” user interface developed from the CDC eight, which provides a workflow that is fast and logical without the restrictions imposed by hardware-centric designs. With a unique combination of an exceptional user interface, legendary Cadac micpre’s, state-of-the art DSP and FPGA processing with incredibly low latency, the CDC six makes an exceptional proposition for those who do not want to be limited by either audio or creative compromises.

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EXPO: PRO

AUDIO IN AN OUTDOOR ENVIRONMENT

Andy Magee - Nitelites • Bryan Grant - Britannia Row • Miles Hillyard - SSE Stuart Kerrison - Nexo • Ben Hammond - FOH Engineer (A&H / Audio-Technica) With yet another UK festival season completed, TPi decided to focus a panel at PRO 2015 on the issue of working with audio in a outdoor environment and some of the challenges it can present. Miles Hillyard of SSE was first to kick off the discussion: “The first thing we are always thinking about is sound quality. The question of how do you decide which PA system to invest in for use in outdoor events is a tricky one, because no loudspeaker is designed to deal with off site noise.” As the only manufacturer represented on the panel, Nexo’s Stuart Kerrison talked about what the French company is known for: “Historically, Nexo systems have a very good reputation at outdoor events. I think what is very important is precise pattern control, which ultimately allows sound designers to get a better result.” However, despite Kerrison’s argument for bettercontrolled systems for the end users, Hillyard quickly added that no matter the control, atmospheric conditions are always going to have an adverse effect on a soundscape. He stated: “On a yearly basis you can go through a festival season and get through 80-90% of shows with an average system design that adheres to the current legislation and get away with it. But every now and then the atmospherics are not in your favour, such as humidity and temperature drops, which can create a difficult show to mix.” As well as challenging weather conditions, the 98

subject of the panel inevitably came to the issue of sound restriction. Sound consultants may not be everybody’s best friend here, but renowned FOH Engineer Ben Hammond had a point: “I think the real issue is that so many people see noise limits as the enemy, but it is something that all sound engineers need to educate themselves on - how you can adjust your mix to get the best sound possible is something you must know how to handle.” Although many of the panellists agreed that engineers need to be skilled enough to deal with audio limitations, the conversation soon turned to the part the government plays in the equation. Hillyard stated: “Political legislation is what defines my job in terms of designing festivals. It’s about limiting the amount of complaints.” Bryan Grant added to this train of thought: “How can one or two people decide the listening pleasure of thousands of people? We are being forced to compromise our enjoyment at live events. I live inbetween two football grounds and nobody complains about that! It will never get solved completely until there is a mind shift with politicians and music culture.” Andy Magee of Nitelites expressed his frustrations: “There are so many festivals that don’t even consider certain elements. Specifically site locations and the potential complaints that may come with them. If somebody wants me to mix at a beautiful new site, it’s great in theory, but we then have to deal with the potential community response too.”

EXPO: PRO

THE CONVERGENCE OF LIGHTING & VIDEO IN THE LIVE PRODUCTION INDUSTRY

Philip Norfolk - Ambersphere Solutions • John Montague - FIX8 Group James Heron - Green Hippo • Steve Warren - Avolites The convergence of lighting and video is still very much a talking point within for concert touring and events. Our panel was made up of several industry insiders, all with varying views on the convergence of the two mediums. Green Hippo’s James Heron took a stance on the subject: “People have been talking about convergence like it’s a new thing, but it has been happening for a long time. In fact, as far as I’m concerned, it’s already happened.” Avolites’ Steve Warren added: “Convergence represents great opportunities for those just entering the industry now. It presents so many opportunities to people today that just weren’t there when we started out.” For John Montague of FIX8 Group, the real turning point came with the introduction of media servers in 2004: “When media servers began to be more widely used, video directors initially detested them. The fact that they were controlled by lighting desks meant that they shunned the idea. There was a period of around five years where there was a constant change in the visual element of shows as media servers became more reliable and suited to the entertainment technology industry.” Heron agreed with the statement that video directors were very unsure about the first media server releases due to the lack of resolution the products could offer. “It was only lighting designers who saw the real benefit at first, because it was another place they could dip their brush so to speak.” He went on to state that he now believes the debate is somewhat outdated. However, Philip Norfolk of Ambersphere Solutions held a slightly different belief: “I like to compare it to the colliding of two icebergs! You could say that the point of collision could be considered as the point of convergence, or you could say that it has 100

not occured until the two icebergs have actually fused together. At the moment, I feel that lighting and video are still at the point of crashing together - they have not totally fused.” He went on to use a comparison of a George Strait concert in 1998 and a recent Ed Sheeran show at Wembley to highlight the progression of touring visuals. “Back in 1998 it was just a case of making a tiny man look big on a big TV in an ever bigger room. The lighting and video departments worked completely separately. If we fast forward to a gig like Ed Sheeran’s tour where again there is just one man on a stage with his guitar in a big room, it’s approached in a very different way. It’s all done by one team essentially, and you can’t ignore the commercial side of touring visuals. It has to get bigger and better all the time to satisfy the audiences.” All four industry members on the panel raised some interesting points, and although they disagreed slightly on the stages of convergence and where it lies today, one thing they agreed on was that the progression in the relatively small live sector had produced some game-changing work over the last few years, with software capabilities playing a huge part in the operation. Warren hinted that Avolites is yet to release the product it has really been gearing up to for some time, and it’s something we should all be waiting for... Concluding, Norfolk stated: “Larger technology companies are taking a lot of interest in the R&D of our sector because it is advancing in such an interesting way.” Finally, Montague left those in attendence with a prediction that the real future of convergence lies towards true integration and greater interaction between the audience, artist and the production.

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03.03.15 08:58

EXPO: PRO

TAKE THAT LIVE 2015: A CASE STUDY

Keely Myers - Tour Manager • Chris Vaughan - Production Manager Richard ‘Wez’ Wearing - Stage Manager • Alex Leinster - Video Design Earlier this year, Take That’s dedicated fanbase was treated to run of arena shows by the pop superstars and, as ticket sales would suggest, they did not disappoint their loyal following. Although only three members remain, their ambition has not dwindled. This year’s production showcased an array of dancers, acrobats and an ever-impressive set design by Misty Buckley. With the tour about to head to Europe, TPi brought in some of the faces behind the incredibly successful production to talk about the challenges of staging an arena event of stadium proportions. Kicking things off, Production Manager Chris Vaughan talked through the tour’s initial creative process: “Its fair to say that Take That’s sense of scale and ambition probably outweighs that of most bands.” The same creative team has surrounded Take That for several years and they always produce some very ambitious ideas which Vaughan and his team must bring to life. The show is always designed down to the millimetre in terms of physical hardware. Vaughan explained that this is important because it means the team do not have to waste much time in preproduction to see if things fit or not. As well as dealing with all the various physical elements of the show, Take That’s performances often include multiple performers. In charge of the the human element was Tour Manager Keely Myers, who this year was responsible for an impressive seven musicians and 20 performers, keeping their fitness and mental state in harmony. Myers talked through the vague timeline of events, stating that there is usually five months of planning before hitting rehearsals. The rehearsal period is then 102

six weeks long before culminating in full production rehearsals, which this time round took three weeks. The common point of agreement among the panellists was the great level of teamwork seen on Take That tours. Vaughan commented how one of the proudest moments of the show for him is the comments he recieves about how friendly the atmosphere is on the road. A big challenge the team faced this year was back-to-back shows between Manchester and London with the addition of a live DVD shoot. The fact the production team pulled this off effortlessly is a testament to the team work ethic instilled in them on the tour. Alex Leinster of Video Design was brought in to this run Take That’s visual elements. He said: “Video Design only started life this year, so as a new company, we had a clean slate. I began working with Chris when we bonded over our shared hatred of video turning up on tour in lots of tiny boxes, being spread across an arena and then the supplier not being able to provide the service required when you’re out on tour.” Leinster’s reduction in boxes also stood him in good stead with Richard ‘Wez’ Wearing, veteran stage manager, who was in charge of ensuring that the 32 trucks - yes, 32 trucks for an arena production - needed for production logistics were unloaded on time, every single night with the set fitting in the next venue seamlessly. Vaughan concluded the panel by discussing how the production brought volunteer cast members into the show for the first time. “I don’t think this has ever been done before, but at every show we had 80 local performers who were so dedicated. They were on inears so we could chorograph them during the show.”

EXPO: PRO

Below: The teams from Nexo and Yamaha who exhibited for the first time together; Leisuretec is celebrating its 20th anniversary this year; The ADJ and Bose teams enjoyed the exhibition.

This year, the combined visitor figures for PRO and BPM (the DJ and electronic music production sister event) totalled over 9,500 people. PRO attracted 4,079 dedicated visitors as well as additional visitor traffic crossing over from BPM’s 5,594-strong audience, which included venue owners and managers, event organisers, and live music industry professionals, as well as students studying performance or music technology courses. Impressed by the show’s varied visitor profile, Lee Brooks of headline sponsor Production Park, said: “This year saw us intent on engaging with the whole of the industry, from grassroots to industry leaders, as part of our Production Park launch. PRO 2015 delivered, creating a great networking platform and appealing to a wide and varied audience.” The chance to engage with visitors out on the show floor was also a highlight for Nexo, its joint stand with Yamaha proving popular with attendees. Sales Manager Gareth Collyer reiterated: “PRO was rather a landmark show for us, the first time that Nexo and Yamaha have exhibited together. We saw an encouraging number of high-quality prospects and many well-known industry faces, including most of the top-flight audio rental companies.” He continued: “The physical environment of PRO, which is spacious and relatively quiet, gave us the opportunity to talk and network in comfort, with good catering provision and communal meeting space in addition to our booth. Load-in and load-out is a piece of cake at the NEC! All in all, we think this is shaping up to become the premium UK show.” 104

While large numbers of visitors enjoyed speaking to brand representatives out on the exhibition floor, the 2015 show also included an expanded PRO Audio Demo Space and extended PRO Sessions learning programme. The latter of these played host to detailed discussion panels across PRO’s three days, including one with members of the technical team behind Take That’s seminal Live 2015 tour and another focussing on HOME, the new multifaceted arts centre that opened in Manchester recently. There was also plenty of time to network in the Chauvet Professional Central Bar, which was made bigger and more stylish for 2015, while visitors on Sunday had chance to socialise on the AED Distribution stand, where the Hog Factor UK lightshow programming competition saw nine teams of aspiring lighting designers compete for a place in the European finals. Exhibiting for the second time, Chauvet Professional took the opportunity to unveil five new products, including: the PVP X3, the Strike 4, and the Rogue RH1 Hybrid. “At Chauvet Professional, we put a lot of thought into developing products that meet lighting professionals’ wish list and offer the performance enhancements and features that our customers demand, so we were very excited to display our latest offerings at PRO 2015,” said Chauvet General Manager for Europe, Michael Brooksbank. “What’s more, we’re exceptionally pleased at the feedback we’ve been getting both about our products and about the show itself, which, in our opinion, has the potential to be one of the most important for the UK market.”

Elsewhere, Allen & Heath’s groundbreaking dLive mixing system received its UK exhibition debut at PRO. All three of the new mixing surfaces - the S3000, S5000 and S7000 - were on display, with Audio-Technica’s new Live Sound and Touring Ambassador, Ben Hammond on hand to take visitors through the features and architecture of the series. A long-term Allen & Heath user, Hammond offered his engineering expertise on the Audio in an Outdoor Environment panel. Allen & Heath’s well-received GLD and Qu Series were also in evidence in the shape of the GLD Chrome and Qu Chrome mixers, as well as a wide selection of Audio-Technica’s products. Among those making an inaugural appearance at PRO was A.C. Entertainment Technologies (AC-ET). On display was a selection of products from its vast portfolio of leading technology brands, including the extensive ProLights lighting and LED video screen ranges; the award-winning Jands lighting control solutions; Green Hippo Hippotizer V4 media servers; Allen & Heath audio consoles; and Dynamic Audio Device, Nexo and RCF loudspeakers. Adam Hall was also present at the NEC, displaying products from LD Systems, including LD Systems’ CURV 500, MAUI 5 and VIBZ, while ADJ had its Warlock and Ricochet lights, which will be released this month. Run by AED Distribution in partnership with High End Systems, the Hog Factor competition - which seeks to the find the best young lighting design and programming talent - held its UK finals on the Sunday at PRO. The event gave young lighting designers a chance to compete in

EXPO: PRO

front of industry judges for the chance to win a HedgeHog4 lighting console. AED Distribution represented High End Systems during PRO, where visitors had a chance to see the entire Hog 4 Series of leading-edge lighting desks and the brand’s latest range of LED fixtures. As well as showing its latest software features, consoles and wings (including the latest MQ80 compact console), ChamSys hosted free lighting console training. FBT used PRO for the exclusive first showing of its latest X Series active speakers. All three ranges (X-PRO, X-LITE and X-SUB) were present, as well as a wide selection of microphone products and its latest modular line array range: MUSE. In addition, FBT’s MITUS, HiMaxX, ProMaxX, Evo2MaxX, J Series, Vertus and SubLINE ranges were also on display. The purpose-built FX Stage area at PRO gave visitors a chance to experience pyrotechnics and special effects from the industry’s top brands. Mark Walsh, Sales Director for Marked Events, said: “By creating the FX Stage we’ve made an exciting new addition to our selection of feature areas; we’re working with a vibrant industry rooted in entertainment and PRO must reflect that.” Le Maitre gave “hugely successful” demos each day at 12.30pm and 3.30pm, where they utilised a range of pyrotechnics, including its

new Gerb Flames, Ice Gerbs, Volcano Mines and Multi Shots. UK Events Group also demonstrated a variety of products on the FX Stage including Co2, flame effects and confetti, with its displays also taking place twice-daily throughout the show. “Le Maitre was delighted to be at PRO this year,” said Elaine Peake, the company’s Head of Sales. “There was a real buzz all around the show, and the introduction of the FX Stage provided us with the perfect opportunity to demonstrate a wide variety of our latest pyro products, flames and low fog. We’ll definitely be looking forward to the show again next year.” LiteConsole’s stand featured its current range of folding consoles: the XPRS, GO! and GO!tt, while a double LiteConsole MK2 was featured in the exhibition foyer. A single customised MK2 was also present on the CD Pool stand, while two XPRS consoles were in use throughout the event. LMC Audio Systems showed a range of its products including the Roland UK M-5000 live mixing console, the Cadac CDC six, the Nexo GEO M6 array, the Martin Audio MLA Mini multi-cellular loudspeaker array, and the Shure UK QLX-D digital wireless system. KV2 Audio returned to PRO to launch its hugely-anticipated active VHD 4.21 ultra low frequency subwoofer. Attendees had the

PRODUCTION PARK LAUNCHES AT PRO Sunday was cause for celebration after months of secrecy as Production Park officially opened for business offering a new home to the live events industry at its Wakefield, Yorkshire HQ - and we threw a party! Speaking to Marketing Assistant, Guy Marks, about the decision to launch at PRO, he said: “The weekend was a low key launch for Production Park. In many ways it was more about networking at the events to drum up more interest in the remaining units and talk to people who had already shown an interest. From that point of view it was a huge success. We are hoping to do something even bigger next year.” Production Park’s Co-founder Lee Brooks added: “PRO is still a young show, it has not become aloof or arrogant the way tradeshows tend to develop. During the course of the weekend we saw a lot of young people on the show floor due to the traffic from DJ show BPM, which is always a good thing. When the younger generations stop coming to tradeshows, the whole industry sees that as a problem.”

Arena

Avolites: booth #2004 (with Group One) Avolites Media: booth #2216

TitanNet Processor

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EXPO: PRO

Below: Attendees at PRO were treated to hands-on interaction, regular demonstrations, eductational panels (complete with class-A literature) and dedicated networking areas.

opportunity to hear the new VHD 4.21 in action as part of a complete VHD 2.0 system within the PRO Audio Demo Space, which occurred at six 10-minute demonstration slots during each show day. Polar Audio’s PRO stand was the place to check out all the latest professional and installation audio equipment from brands including Mackie, Beyerdynamic, Biamp Systems, XTA Electronics and Renkus-Heinz. PRO also became the first UK public appearance of Mackie FreePlay since its announcement at NAMM 2014.

raise the profile of the PRG Proshop, our used equipment sales platform. There was a warmhearted atmosphere at the show and we were able to make some excellent contacts.” Laserworld showcased its laser systems for DJs, entertainers and small nightclubs at BPM, and its professional laser gear for high-end customers at PRO. The smaller laser show for BPM visitors focussed on the newly launched products of the Laserworld Club Series, the CS-1000RG MKII and the CS-2000RGB MKII, as well as some products of the Diode and the Proline Series.

“We think this is shaping up to become the premium UK show.” Nexo Sales Manager, Gareth Collyer

As well as AED Distribution and AC-ET representing a range of Prolyte products at their stands, the Prolyte team, consisting of Paul Hadfield, Ralph Stockley and Marina Prak, were on the show floor to lend their support to both distributors and customers alike. Another new exhibitor at PRO was rental titan, PRG. Marketing Executive Matt Rakowski explained why the company chose to take part: “This was the first year PRG has exhibited at PRO, and we decided to use the event to 106

The PRO show mainly used RTI projectors, like ATTO and FEMTO units as well as two HB-Laser LightCube projectors, and some BeamNET-10 PROs. Both shows plus the introduction sequence were created with Pangolin Beyond laser show designer. The programming and show design was done by Daniel Briggs from AC Lasers, one of Laserworld’s partners. RCF took full advantage of the sound demo possibilities on offer at this year’s event, using

the PRO Audio Demo Space to demonstrate its classy TTL6-A, a three-way line source that was added to its theatre and touring range earlier in 2015. Other new loudspeakers that could be seen in static form at the RCF booth were the ART732-A multi-purpose full range loudspeaker, and MkII versions of the TT22-A and TT25-A. RCF also presented its new M Series digital M18 wifi mixer - see Pg. 112 for more details. TW AUDiO was another newcomer to the PRO experience, and had demos set up in the Pro Audio Demo Space. The listeners were reportedly “very impressed” by the TW AUDiO sound quality and the performance of the compact PA-SYS-ONE, supported by BSX. SOPHOMORE SUCCESS Looking to the future of PRO, Show Director and Sales Director of Marked Events, Mark Walsh, said: “It is an exciting journey we are on, and in an industry that is changing quickly it is important that the events we deliver reflect that. “We are very pleased with the growth of PRO from our launch show last year to 2015’s significant event. The team now look forward to listening to feedback from exhibitors and visitors alike, before acting on this input to create an even bigger and better show for 2016.” TPi www.visitpro.co.uk www.visitbpm.co.uk

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And for those who couldnâ&#x20AC;&#x2DC;t listen to our systems at the Show: AUDIO AND LIGHTING TECHNOLOGY SHOW

For demonstrations of the classic PA-SYS-ONE and all other systems simply contact our UK support andrew.linklater@twaudio.com or visit our website www.twaudio.com.

INTERVIEW: Dick Tee

DICK TEE TALKS READING & LEEDS THE MAIN PRODUCTION CHALLENGE AT READING AND LEEDS FESTIVALS IN 2015 WAS TO EFFECTIVELY GET A METALLICA STADIUM SHOW INTO THE FESTIVALS’ MAIN STAGES. TPi AWARD WINNING DICK TEE EXPLAINS HOW HE AND HIS TEAM ACCOMPLISHED THE HURCULEAN TASK. Dick Tee, Reading Festival Production Manager and owner of EnTEEtainment, needed to deal with the tremendously high production values that Metallica sought to achieve with the biggest bespoke show of its type ever seen on a festival main stage. Tee exclusively told TPi: “We had to find a range of logistical and physical solutions to fulfil Metallica’s aspirations. The Metallica crew flew in from Moscow having done a series of shows in Scandinavia and Russia and met up with their six production artic trucks, which were joined by two trucks of extra video and two trucks of extra flown and floor lighting. This was in addition to the festival’s three trucks of PA, three trucks of lights, two trucks of video and a truck of risers and backline.” Tee continued: “Over 400 sq metres of LED screen was flown on stage, with a huge 60ft wide upstage centre screen and then on stage side screens each 40ft wide, giving a massive three sided video experience. In addition there were the stage left and right 70 sq metre IMAG screens, with a further IMAG behind the FOH; supplied by a combination of Creative Technology and XL Video. In total there were over 35 tonnes of equipment flying 108

in the Serious Stages roof and associated side wing structures. In addition to the technical production, over 125 specially-selected fans joined Metallica on stage behind the band for the whole set - an experience that will live with them for years to come.” The modifications to the stage were significant, as Jeremy ‘Moz’ Mosdell, Serious Stages’ Construction Manager at Reading Festival told TPi: “I’ve been at Serious Stages for 26 years and worked on Reading Festival since 1991 when Nirvana played. We have worked with Tee for many years so there’s a strong depth of understanding between us. This year we supplied the Serious Stages TZ Roof for the third year, along with over 50 structures on site, including the bridge over the River Thames to the campsite. “Festival stages used to be standard for all bands, but increasingly over the past seven or eight years, we’ve had to accommodate more changes overnight and that has increased notably over the last four years with pyro towers and stage sets. This year’s Metallica show has again pushed boundaries. “We installed a downstage front edge shelf to carry small monitors and moving

lights. Running the 50.4 metre width of the performance stage, the band specified that this had to be exactly 300mm below the stage level and 600mm wide, which didn’t tally with our standard components. “A second element was the flown weight loading in the roof. Metallica brought three giant LED screens to create a box of video screens around them; 12 metres deep either side and filing the 25 metre width of stage. “This meant there was significant weight loading across arch eight towards the rear of the stage. To accommodate for this we inserted some ‘tirfors’ to bolster the weight loading capacity from five tonnes to 6.5 tonnes per arch. So across the front eight arches the TZ offered a capacity of 50 tonnes, the rear arches covering the working area were not carrying any production. “For the stage build we had a core crew of eight or 10 up to a maximum of 30, with a team of eight standby on site throughout the festival to carry out overnight changes. We constructed the TZ roof first, and then we waited for the other tents to be erected before building the other stages, along with a range of PA and delay towers and assisted viewing platforms.”

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INTERVIEW: Dick Tee

Opposite: Serious Stages helped to stage Metallica’s most ambitious festival headline slot to date. Below: Dick Tee had to find a range of logistical and physical solutions to fulfil Metallica’s aspirations, not without the help of those such as ‘Queen of the Pad’ Frankie Tee; Serious Stages’ Jeremy ‘Moz’ Mosdell.

In addition to these modifications the stage also accommodated special effects including lasers, pyrotechnics and the famous Metallica beach balls. Lighting trusses had to be re-rigged to accommodate some of the nets holding a reported 2,000 balls, which were inflated over the course of the day by a ‘beach ball SWAT Team’ and sent into the crowd during classic anthem Enter Sandman at the end of the set. As part of the overall artists advancing operation EnTEEtainment’s Frankie Tee was ‘Queen of the Pad’. She planned, coordinated, scheduled and executed the very complex movements of artists’ trucks and sleeper buses between the marshalling yard, set up at the Rivermead Leisure complex, and the loading area and dock at the main stage. Frankie Tee commented: “With an average of 50 large vehicle movements every day, not to mention the fleets of Sprinter vans and people carriers, it really was a major logistical operation to ensure that each act got to and from the stage in time to load in, perform, and then to load out and

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get away to the next show. With acts playing both Reading and Leeds Festivals over the same three-day period, timing was of the essence to ensure they made the 200 mile journey between the sites in good time to meet their allotted set up and performance slots.” SSE Audio provided the PA system on the main stage and Neg Earth was the lighting supplier. Finding the common ground to satisfy the needs of the headline acts each day, while still being able to provide a good generic festival lighting rig, was the usual challenging task. Dick Tee explained: “This required tact and diplomacy as well as a creative vision coupled with a good practical understanding of what is and what is not achievable within the confines of time, space and stage-roof weight loadings.” Reading and Leeds always strive to say ‘yes’, within reason, to the production aspirations of other acts appearing. Mumford & Sons show was complex, incorporating a significantly large flown lighting rig with Kinesys motion control motors and featuring lasers. Bring Me The

Horizon used 50 LK Co2 bottles to fire special effects within their show. The production also successfully dealt with rolling screens and additional floor lighting packages for a range of artists including Alt J, Bastille, Royal Blood, Kendrick Lamar and Jamie T. “Obviously there are limitations to what can be accepted but the festival technical advancing, led by Andy Head, always throws up the challenges, which the production team then finds ways to deal with. Limited space at the FOH will restrict the number of guest lighting and audio consoles that can be accepted, whereas the vast majority of artists touring monitor consoles are usually okay. This year Deltamax was tasked with the provision of over 1,000 metres of safety barriers and crew, creating the uniquely-configured front-of-stage pit where Specialised Security Staff monitored the lively audience. “In a typical day, the Stage Miracles main stage show crew under the direction of the infamous Stage Manager Chalkii at Reading, work with the artists’ crews to give each act as smooth a time as possible. It is not uncommon to end up with in excess of 200 working personnel coming through the stage over the course of the day.” TPi www.dicktee.com

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IN THE SPOTLIGHT: RCF

RCF’S M18 DIGITAL MIXER RCF’S DIGITAL WIFI MIXER, THE M18, IS THE FIRST OF THE M SERIES, WHICH RECEIVED ITS WORLD PREMIER AT FRANKFURT’S PROLIGHT + SOUND 2015. DESIGNED AS A PRACTICAL, FADER-FREE, PORTABLE SELFCONTAINED ENCLOSURE, THE M18 FEATURES AN ON-BOARD WIFI ACCESS-POINT WITH INTEGRATED INTERNAL ANTENNA, ENABLING ALL THE FUNCTIONS TO BE CONTROLLED WIRELESSLY. THE DIGITAL MIXER SECTOR HAS BEEN A NATURAL STEP FOR RCF, FOLLOWING THE ANNOUNCEMENT OF THE L-PAD ANALOGUE RANGE LAST YEAR. PRODUCT MANAGER, SANDRO CHINELLATO, TALKS TO TPi ABOUT ENTERING THE WORLD OF MIXERS. Since the launch of the analouge L-Pad mixer last year, a whole new range of digital offerings have been released. Can you talk us through the growth in the R&D side of RCF? Since the beginning of the L-PAD project, we’ve had three people join our R&D and electronic departments as product managers. To support the ‘M’ project, the RCF Group has acquired a Rome-based company which specialises in DSP technology and electronic circuit design. ZP Engineering now represents a remote branch of our R&D team. What were the significant development stages of the M range of digital mixers? We started with the design of M18 mixer some time ago, and at the last Frankfurt Prolight + 112

Sound we introduced the M18’s younger sibling, called M08 which provides less inputs and outputs with slight limitation to internal effects and processing but comes at a more affordable price range. Of course, our R&D is always developing other models for the range - both big and small - in order to service all of the pro audio market requests What was the inspiration to make the new M18 completely fader-less? The initial idea was to provide musicians with an intelligent and versatile solution to manage the audio of their gigs. The wireless control via tablet on a remote ‘black box’ seemed to be a good choice. It has the right number of internal processors and some of them are dedicated to guitar

and bass players which complete the set of necessary tools for groups or smaller live bands. What onboard effects and functionality are available on the M18? Will these also be available for the M08? M18 provides up to 19 simultaneous internal effects; three of them are ‘send effects’ available for all channels using the dedicated effect send option. This is an original algorithm modelled reverb, a professional stereo delay and a ‘modulation device’ providing stereo chorus, flanger and doubler. Furthermore, up to six channels can be inserted with MultiFX chains - three or five effects each - again offering delay, chorus, distortion or overdrive, pitch shift and spectacular guitar and bass amplification

IN THE SPOTLIGHT: RCF

Opposite: RCF’s new M18 digital mixer. Below: Product Manager, Sandro Chinellato; The mixer was designed with the musician in mind.

emulation, designed by the wellknown musical software house, Overloud. This can be combined to create the preferred effect chain for any musician. For bass amplification emulation, we can boast a cooperation with the prestigious bass amp brand, Mark Bass. The M08 also supports a scaled-down suite of internal effects with same audio quality and versatility. What sets RCF’s M Series of mixers apart from other mixers currently avaliable on the market? We focused the aspect of the M Series digital mixers by designing compact boxes with nice layouts, ideal for a desktop use but also able to fit into touring rack units.

Then we focused the design of our products towards musicians, rather than technicians or sound engineers by developing a friendly and intuitive GUI. What kind of trends are your now seeing in terms of RCF’s digitsl end users? RCF’s best-selling speakers, the ART Series, EVOX Series and even the HDL20 line array, are all popular systems for bands and musicians, and the M Series is intended to complement this audio chain. We now aim to provide superior audio quality, versatility of use and provide a complete suite of processing and effects. TPi www.rcf.it 113

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MOVERS & SHAKERS

The Laserworld Group has continued its growth with the opening of Laserworld Ibérica; a sales office in Spain that will handle all Spanish and Portuguese customers. “Being able to provide great customer service everywhere in Europe is very important to us,” said Norbert Stangl, CMO of the Laserworld Group. “Running our own sales and service office locally helps our Spanish and Portuguese distribution partners in improving their customer base and their services,” he added. With Daniel Patricio, Laserworld has acquired an experienced sales manager with a laser show background. He is already familiar with the products of the Laserworld Group from his own experience and thus can start over immediately. The Laserworld Ibérica office is located in Basauri-Bizkaia and provides sales support as well as show laser light services. The local staff speak Spanish and Portuguese, so the customer service can be handled quickly and easily. “We are working closely with our distribution partners in the area and are looking forward to establishing new business relationships with dealers, installation companies and commercial customers,” explained Patricio. “The Spanish and Portuguese markets request affordable but high quality products, so the large product portfolio is a perfect match.” UK specialist lighting manufacturer i-Pix has chosen Florida-based Inner Circle Distribution (ICD) as exclusive its distributor in the US, Canada, South America and the Caribbean for its Db1 video / beam effect light-source. “I looked at many options and researched extensively before choosing to partner with ICD,” explained i-Pix’s Chris Ewington.“I didn’t want a large company with lots of brands on board, I wanted a focussed and dedicated operation with individuals passionate about the industry that would give the Db1 the attention it deserves and share the zeal for invention that characterises i-Pix.” 114

Ewington also highlighted that ICD is based in Sunrise, near Miami, and therefore at the heart of EDM action, which is a market that is always keen to embrace new visual technologies. It is also one of the genres for which the hybrid Db1 is an ideal choice as a combination lighting /video product. Craig Singer of ICD is equally as keen. “The Db1 is a fantastic idea, a new product that can’t be classified as ‘just’ a lighting fixture or a ‘just’ a video screen. It has effectively created its own Screen Beam category of fixture. There’s absolutely nothing like it in the world of entertainment technology, and we are hugely excited to be involved with Ewington and i-Pix on this project.” ICD is already planning a nationwide Db1 experience tour visiting key US cities ahead of the LDI expo in Las Vegas in October to get targeted people in front of the product. Nadine Nailly, Founder and CEO of Niche Management and Events, who has joined Showforce as Business Director for the Middle East and Qatar region. Nailly will be using her wealth of experience and events savvy to head up the company’s event staff, hostess and models division. In order to work more closely with customers in one of their key markets, and to better understand their needs, German Light Products (GLP) has announced a new GLP Nordic office, based in Sweden. Running the operation, as Sales Manager for Sweden, is Daniel Rüdén. Although originally a Sound Engineer, he brings widespread experience working with rental companies and as a full-time Production Manager, specialising mostly in EDM artists and festivals. During this time he co-designed many of the lighting sets with fellow LDs. Based in Västerås, around 100km from Stockholm, he said that once established, the plan is to grow the operation into Norway and Finland.

Speaking of the move, he commented: “I like to step out of my comfort zone and take on new challenges - therefore I was really excited when Kasper Gissel [Member of GLP’s board of directors] offered me this opportunity. “Sweden is a small country but has a big entertainment culture. There is a lot of potential, and so far there has been considerable interest in GLP from the Swedish LDs in sectors ranging from TV shows to festivals, theatres and touring productions.” Rüdén will also initiate a vigorous sales and marketing drive, taking the products around the country in a roadshow style. “During the summer and autumn we will travel out to meet up with LDs, rental companies and theatres, and show them the amazing possibilities the impression X4 series has to offer, as well as attending trade fairs.” Full technical support will be provided from head office in Karlsbad, where Managing Director Udo Kunzler confirmed the rationale behind this development. “In particular it will give us a chance to listen to LDs and production companies about their requirements and provide local support. We see Scandinavia as a key market and Sweden as a good base from which to service it. With Daniel’s background in production and event management he is the ideal candidate to implement this, as he knows all the key players.” “I´m really excited to be a part of the GLP team,” stated Rüdén. “The products are simply fantastic and it will be a pleasure to get them out into the marketplace. With the new X4 range of products, GLP will plug the gap in the market for new high quality technology which has been needed for quite a while.” Lifting equipment specialists Hoist UK and its sister company, Truss UK, have recently moved to bigger premises, significantly increasing the size of their previous facilities. The new offices, workshop and warehouse are still based on the Wirral peninsula and are ideally located in the heart of the UK motorway

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MOVERS & SHAKERS

First page: Daniel Rüdén will run GLP’s new Swedish operation; Nadine Nailly has joined Showforce as Business Director for the Middle East and Qatar region; Allen & Heath has recruited Exhibo in Italy to manage the brand’s installation, touring, rental and broadcast sales portfolio. Below: Juha Tamminen of Alfa Audio; The new team members at Sennheiser.

network. The move reflects the growth and success of both companies over the last year, which has seen an expansion in the company, the product range and business generally. The new workspace boasts a 10,000 sq ft building, along with extensive yard space. Hoist UK is a UK distributor for the complete range of Verlinde industrial and entertainment lifting equipment, as well as offering complete design, manufacture and installation services for all your lifting equipment needs. Truss UK has its own in house design, CAD and manufacturing facilities, and can offer the full package of design, structural analysis, quality manufacturing and fabrication. Tony Dickson, Director of Hoist UK and Truss UK, commented: “Our new [facility] consists of ample office space for an ever growing sales and admin team, substantial customer meeting areas, plus extensive warehousing with a lifting equipment testing bay, that should support the company’s ambitious plans for at least the next five years.” Production Resource Group (PRG) will extend its branding in Germany and the UK to integrate the brand of the recently-acquired XL Video Group. The integrated companies will be known as PRG XL Video for a transition period while the operations are being merged. PRG will continue to use its brand name in all other countries across Europe and North America. “Part of our decision to acquire XL Video was the premier value of its brand in many of our markets,” said Jeremiah Harris, PRG’s Chairman and CEO. “Our aim when joining the two companies was to create a strong foundation for continued growth,” added Stephan Paridaen, PRG’s President and COO. Allen & Heath has devised a new distribution strategy in Italy, recruiting Exhibo to manage the 116

brand’s installation, touring, rental and broadcast sales portfolio, and enabling existing partner, EKO Music Group, to focus on growth in the MI and retail sector. “Allen & Heath’s product portfolio is renowned for being diverse, covering the whole spectrum of audio mixers from pro touring to home studio and DJ. The strategic decision to split representation into two channels will enable our partner companies to expand the brand’s reach in the specialist areas where they excel, and service our customers comprehensively,” commented Allen & Heath’s area European Business Development Manager, Fred Cresson. Sennheiser has appointed Phil Cummings and Byron Gaither to its music collaborations team, part of the company’s strategic collaborations division. Cummings will take the role of Relations Manager EMEA, assuming responsibility for coordinating music collaborations activities and education projects for Sennheiser in the EMEA region. Before joining the strategic collaborations team, Cummings enjoyed a highly successful career in artist relations, entertainment relationships and education projects with Sennheiser’s UK team. Byron Gaither, meanwhile, has been appointed Relations Manager Americas, assuming responsibility for coordinating music collaborations activities for Sennheiser in the US. He joins industry veteran Christian Isaac, who is also active as Relations Manager Americas, but puts a special focus on Canada. Located in Los Angeles, California, Byron Gaither comes with 18 years of experience in the music industry, previously working with Presonus, Adam Audio and Apple. EM Acoustics’ Danish distribution partner, Alfa Audio, has expanded distribution into Finland. Juha Tamminen has been appointed to represent the brand exclusively throughout both territories.

Alfa Audio has been distributing EM Acoustics in Denmark since 2009. According to EM Acoustics’ Mike Wheeler, the relationship has been a successful one. “Alfa Audio is probably the most successful pro audio distributor in Denmark with an impressive roster of brands. They have a proactive approach to the market which matches our own philosophy perfectly, and they have done a good job for us in Denmark. I’m delighted that they are now going to be able to expand their activities into Finland now that Juha Tamminen is back in the saddle.” “Juha has in fact played a key role in the EM Acoustics / Alfa Audio relationship as it was he who introduced us to Alfa in the first place,” explained Wheeler. “He then took a six-year break from the industry but is now back at Alfa Audio as the dedicated EM Acoustics specialist both in Denmark and Finland.” Alfa Audio’s Lars Frederiksen is equally pleased with the expanded partnership: “We’ve been very pleased to represent EM Acoustics in Denmark where the brand has gained an excellent reputation for crystal clear, uncoloured sound reproduction, especially in the theatre world.” “We are honoured that EM Acoustics has allowed us to extend our cooperation into Finland as well,” he continued. “The move makes perfect sense for everybody - our mother company, Arva Trading, already looks after EM Acoustics in Sweden, and Juha, who already knew EM Acoustics very well, is a native Finn and has an excellent reputation in the Finnish pro audio community. We have invested in a full HALO-C demo system complete with dedicated subs, amp rack etc., and Juha is currently touring Finland with it and will be attending a trade show in November. We are all looking forward to furthering the success of EM Acoustics in Finland just as we have in Denmark and Sweden.” TPi www.tpimagazine.com/jobs/

THE BIGGER PICTURE

THE BIGGER PICTURE THIS JOB NEEDS A HEALTH WARNING This month we take a sobering look the health problems, both visible and invisible, that are on the increase in our industry. While this might not make the lightest reading, it certainly gets the ball rolling on a discussion that is long overdue. If you’ve looked at Facebook, you’ll know not to believe much of what you see in individual posts; photos can be manipulated, quotes wrongly attributed, things can be taken out of context. You can, however, spot patterns and categorise posts for a pretty accurate picture of your online social circle. We get the holiday posts (usually with the “I haven’t had a holiday for 80 years” comment), the cat posts, the meal posts, the “I’m working late again” posts, the “today’s view from the office” posts, the “checking in at airport” posts and the “going to sleep for a week” posts. You get the drift. What upsets me are the “we just lost another friend” posts that seem to be popping up far too frequently in our line of work. Sure, we’re all getting older but these are more ‘gone too soon’ than ‘ripe old age’. Recent research in Australia seems to confirm what social media leads us to suspect:this business can be bad for your health. A report by Australian industry group Entertainment Assist led to the headline in Amplify Magazine Depression, Lack Of Sleep And Drug Use Could Be A Ticking Time Bomb For Concert Industry Professionals. Australians saying it how they see it, but they have a point. The sad thing is that nothing in the report will come as a surprise. Nobody will really be shocked at the findings that, on average, incomes are low, and that work patterns are irregular. Thinking back to a report into fatigue and accidents in our sector, written and researched by our former Chairman James Cobb, we’re already aware that lack of sleep can impair cognitive responses and behaviour, correlating to a high number of workplace accidents. The Australian report paints a vivid, shocking picture of sleep disorders in the entertainment sector; suggesting the number of people in the entertainment industry that suffer from sleep disorders is seven times greater than the general population. Is anyone really surprised that the report 118

shows 16% of the respondents strongly agreeing they had insomnia far too much for their liking? That’s almost three times greater than the average across the general public, and as a result had greater difficulties in daily activities, higher life dissatisfaction and higher use of sleep medication. It’s no surprise then that 57.9% of the survey’s respondents had problems finding time for their families, 63% had trouble maintaining a social life, and 45% had trouble keeping contact with their friends in the industry. No surprise then that around one third of respondents said that they had been diagnosed with a mental illness in their lifetime,

use was four times greater than that of the general population, ecstasy seven times, methamphetamine eight times, tranquilisers for non-medical reasons nine times, non-medical use painkillers seven times and cocaine 12 times. That’s a quarter of respondents ticking the cocaine box, and then presumably going on to write an essay about themselves. Seems that we’re not doing ourselves any favours. Some may find the next bit upsetting. It touches a nerve with me too, but the report allows us to compare the previous figures and rates to the figures relating to suicidal cognitions and behaviours. Rates for various subsections of

The report allows us to compare the previous figures and rates to the figures relating to suicidal cognitions and behaviours. Rates for various subsections of the sector are between five and nine times those of the general population with actual attempts just above twice the population levels.

the most common being depression, followed by anxiety, with rates five and 10 times higher than national averages, respectively. Sadly, the report cites cultural barriers to seeking support, suggesting that people felt that looking for help may affect future employment opportunities. Let’s be perfectly honest here; there’s no surprise that drug and alcohol use feature more highly than amongst the general population. That said, 83% of respondents said they consumed alcohol, not much higher than the general population. When it comes to high risk consumption, levels rocket to twice that of the general population Moving on to the illicit end of the substance spectrum, the researchers found that marijuana

the sector are between five and nine times those of the general population with actual attempts just above twice the population levels. Factors cited in the research include lower levels of social support, low incomes experienced within the industry, mental health diagnoses - particularly around depression and anxiety - and indications of gender issues having an impact. None of the above figures come as a great surprise, but gathered together into one report, they’re not exactly material for an industry recruitment poster. Of course, a slightly rosier picture is painted in the imaginations of young people seeking the glamour of life on the road. I recently had a conversation over a couple of beers with a guitarist in a new, active band.

www.psa.org.uk

Their market takes them to Northern Europe on a regular basis, and his attitude to income was simple; ‘it’s all about the rider”. I’m sure that’s music to their agent’s ears. Little surprise then that online groups for touring crew are full of calls for “tour manager / FOH /driver positions, back to back European dates, we can sleep... somewhere.” There are always takers, as there were two willing applicants to a call for experienced lighting techs to spend 11 days

recovering to a state approaching human. We sent out a link to the questionnaire, responses ranged from helpful to the downright paranoid refusal to respond to a survey that would surely lead to new laws restricting the respondent’s right to work back to back dates and multiple festivals for three different clients over the summer. That was a few years ago, she got a first, we are still waiting for any mention of legislative changes. This is the point at which we’re expected offer

Long hours, lack of sleep and fatigue are a long-term danger to the individual and a short term risk in the workplace. That needs to be set out, in writing, in an individual’s terms and conditions. at a festival of note for no money whatsoever. Hopefully that marks the end of the race to the bottom. There are plenty that are happy with their lot, many will defend the lifestyle, and not without good reason. I remember a time when we were asked to help an Events Management degree student with her dissertation. The subject was working hours in the touring sector, inspired by the author’s partner who, on returning from FOH duties on tour, would spend a week in bed

light at the end of the tunnel, we’re supposed to lift the mood, clear the fog to reveal a beautiful landscape with a clearly marked route to a rosy future. That, however, is a question of control, and with the high proportion of workers being self employed, that’s really in the hands of the individual. Take anxiety: stepping off one tour and straight onto another is a rare occurrence, so there’s the constant pressure of finding the next gig, as well as the nagging notion that someone will always do it for less. Unless, that is,

you’re employed by a supplier with a guaranteed minimum amount of work. Wouldn’t that be great? Well, it does happen and the companies that do it are thriving. That doesn’t work for every role, leaving individuals with the option to ‘just say no’. We’re unlikely to see the majority switch from self employed to employed in the near future so, to a certain extent, working conditions are set by the individual rather than the tour. But how many touring professionals have their own terms and conditions? Long hours, lack of sleep and fatigue are a long-term danger to the individual and a short term risk in the workplace. That needs to be set out, in writing, in an individual’s terms and conditions. You may have a day rate; it’s worth pointing out that it doesn’t mean 24 hours. We don’t have an answer to offer here, but sometimes it’s good to lay out the facts and start the search for the remedy. In a sector of individuals, the theory of divide and conquer rules. Members can start by using our terms and conditions check list, soon to be in our resource centre, and perhaps a review of the figures cited in the research could highlight room for personal improvement. The full research document is available at http://entertainmentassist.org.au Look after yourself, please. TPi www.psa.org.uk

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121

VITAL STATS Louis

VITAL STATS 175 IN PARTNERSHIP WITH

James

Okulus: Louis Oliver & James Scott Profession: Production Designers Date & place of birth: Louis: 02.08.1987, UK. James: 30.11.1989, UK.

How did you get into the industry - were you formally trained or did you opt for the more DIY route? L: I fell into the industry. Whilst studying a Music Business degree at university, I took on a part time job at a local lighting company with the aim of making some additional funds. That company was Siyan. After a week, I started taking a real interest in the designers and technicians and their roles on productions. Shortly after, I started going on various introduction courses and learning how to use and operate lighting consoles. This led to me picking up my first and longest standing client, You Me At Six. J: My Interest in theatre started off at eight years old. I saw a local production and decided I wanted to be involved. After expressing my interest, I expected to be making teas but they offered me the chance to design the lighting and I caught the bug. I chose to undertake a BTEC in Performing Arts Production where I really started to focus on my passion: lighting for live music. I took my tutors’ advice and left education to start work for PRG.

“The work we have been producing since forming Okulus is some of the best that either of us has ever put together...”

How did you hone your craft? L: I have very much learnt as I’ve gone along. After a year I began working on the design side and learning to not only get the most out of any rig, but to make sure I had all of the tools for the job. Looking back, I can see that my designs were very much thrown together as I didn’t have the knowledge I have now to make the right technical and design choices. J: I did it by working with people that I look up to, by absorbing their experience. I have a great deal of thanks and appreciation to the people who have guided me this far. A way to hone any craft is to be thrown in at the deep end - it’s terrifying, but really gives you a backbone! What was your first ‘big break’ in concert touring? L: I consider my first big break in the industry to be You Me at Six as without those five lads, I don’t think the work I do would have progressed as quickly as it did. I was indeed thrown in at the deep end and was given the opportunity to design their first production tour. Many years and countless tours later, I have stuck with them and they have kept me along for their very exciting ride. J: My first big break would have to be operating the lighting for Stevie Wonder. I owe a lot of how I design and present my craft now to working with LD Mark Cunniffe. Even though we don’t work together anymore, I can still hear him in the back on my head saying, Why are you doing that?, This isn’t a circus James… Less colours! or Please tell me that was an accident? So, how did Okulus come into fruition? J: I met Louis at Siyan’s offices when I was on the crew for You Me At Six in 2012. He had some programming queries with an MA Lighting desk and the 122

crew who knew him pointed out that I might know the answer. Since then we’ve found a mutual work ethic and become good friends. In early 2014 we decided to give collaborating a shot. So far, it’s working… In such a creative profession in a competitive environment, how do the dynamics of the company work? J: The dynamics are very relaxed, we both work on every project that comes through our door - even if one of us doesn’t get to see the end product, you can be sure that both of our minds have been on the project from the start. It’s a great way of working as we don’t really take a lead role - unless it’s called for - and we’re not afraid to tell the other person that their idea or concept is terrible because we’re both working for the same goal. In terms of the dynamics with other design houses and solo designers, we’re friends with most of who we consider to be our competition. It’s a horrible feeling to pitch for work and not be chosen after you’ve invested time and creative emotion into a project, but often the work goes to people we respect. Can you talk us through a career highlight - either a challenging production or a tour that you’re very proud of? L: Every production I have worked on had something about it that has made it a highlight. The work we have been producing since forming Okulus is some of the best that either of us has ever put together and we are both very excited to see what’s coming next. Louis, you’ve been nominated for a Knight Of Illumination award in this year’s ‘Concert Touring and Events’ category. What are your thoughts on that kind of recognition? L: It really is an honour to have the Chvrches design from their first campaign up for this award. There are some fantastic designs in the awards this year so whether I win or lose, it’s just great to be considered.

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