TPi May 2015 - Issue 189

TOTAL PRODUCTION INTERNATIONAL

TOTAL PRODUCTION INTERNATIONAL

WWW.TPiMAGAZINE.COM MAY 2015

ISSUE 189

LIVE EVENT DESIGN & TECHNOLOGY • MAY 2015 • ISSUE 189

USHER

UNCOVERING THE UR EXPERIENCE

EVERYONE WANTS TO TOUCH THE SKY

IN THE SPOTLIGHT: SOUNDCRAFT • SNOWBOMBING FESTIVAL • IN PROFILE: GLOBAL INFUSION GROUP ELECTRO-VOICE PRODUCT LAUNCH • PROLIGHT+SOUND 2015: THE REPORT • PSA • VIOLETTA LIVE

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18/03/2015 16:57

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PRELUDE

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ACQUISITION, ACQUISITION, ACQUISITION It’s been a whirlwind month in ‘our world’, hasn’t it? During the busiest audio visual tradeshow of the year (check out our Prolight+Sound report, starting on Pg. 42), there were rumours and whispers galore. In the slightly calmer realm of reality, we have witnessed an array of extremely interesting and potentially game-changing moves by some of the most high profile companies this industry has even known.

In the last couple of days, globally renowned lighting, video and rigging supplier, PRG - Production Resources Group - released a statement expressing its intention to acquire visual rental titan XL Video. This news comes just six months after PRG bought Gearhouse Middle East, the largest provider of turnkey event production services in the Gulf region.

Both XL Video and PRG are hugely important to the live event production industry and together can only become an entity of gargantuan technical know-how and considerable business braun.

This news comes alongside the announcement that MUSIC Group has secured a deal with TC Group, following the lengthy apprearance of a ‘for sale’ sign. TC Group’s brands include Tannoy, Lab.gruppen, Lake, TC Electronics, TC Helicon and TC Applied Technologies, and these names will now complement MUSIC Group’s already promising portfolio of audio brands which include Midas, Klark Teknik, Turbosound and Behringer.

“During the busiest audio visual Finally, trade-only distributor Midwich has tradeshow of the year, there acquired display solution specialist, rental and were rumours and whispers technical distributor, PSCo. This move is said galore. In reality, we have to be part of a key strategy Midwich has put in place to better benefit the trade market. You can witnessed an array of extremely read more about each of these transitions on our interesting and potentially gamewebsite or in our Movers & Shakers section on Pg. changing moves by some of the 74. most high profile companies this This issue also brings you backstage access to industry has even known...”

Usher’s latest live creation. I can’t say that I’d seen a gold-wheeled segway before the night I visited that tour, but I guess my curiosity can now cease. Read about the glitz and glamour of The UR Experience on Pg. 20. In contrast to an arena production, Snowbombing festival takes us to the Austrian Alps where Ground Control once again produced the mountainside mash up with excellent results. Even at -10 degrees!

Other highlights include a profile of 11 time TPi Award-winning caterers, Eat to the Beat, a look at Soundcraft’s brand new Vi Series of digital consoles, the Vi5000 and the Vi7000 (Pg.68) and a chat with talented concert producer, Keely Myers.

That’s all for now, but there’s just enough time for a quick selfie with the lovely Laura Iles of mondo*dr before we head out to cast our votes for the next UK general election (where this year selfies are banned!). Then I’m due to catch a plane to Dubai with Justin [Gawne, TPi’s GM] for the PALME show. The anticipation of visiting the Middle Eastern live events market is even more exciting than the arrival of my new passport photo. After all, 10 years is a long time to suffer the haunting after effects of a poor decision at university. No, I’m not talking tattoos, but rather, a blue mullet!

Hopefully I’ll get through passport control a little faster from now on, boss!

Kelly Murray Editor

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Editor Kelly Murray Tel: +44 (0)161 476 8371 Mobile: +44 (0)7738 154689 e-mail: k.murray@mondiale.co.uk Editorial Assistant Jamie Medwell Tel: +44 (0)161 476 8360 Mobile: +44 (0)7966 664116 e-mail: j.medwell@mondiale.co.uk

CONTENTS 05/2015 EVENT FOCUS 08 Gravity Systems

TPi speaks to the brand new company creating a bespoke playback touring solution for The Chemical Brothers.

10 Violetta Live

The live sensation packed out European arenas with help from Meyer Sound’s Lyon linear sound reinforcement system.

12 Old Barn Audio International Advertising & Sponsorship Hannah Eakins Tel: +44 (0)161 476 8363 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk Advertising Sales Charlotte Goodlass Tel: +44 (0)161 476 9126 Mobile: +44 (0)788 0208 226 e-mail: c.goodlass@mondiale.co.uk Graphic Design & Production Dan Seaton: d.seaton@mondiale.co.uk Mel Robinson: m.robinson@mondiale.co.uk

The Kent-based distributors purchase a Martin Audio MLA Compact system to help meet with anticipated market demand.

14 Star Events CDM

The company publishes CDM Ready!, the first event industry-specific interpretation of the CDM regulations.

16 Electro-Voice’s X-Line

TPi’s Jamie Medwell travels to Straubing, Germany to witness the launch of Electro-Voice’s new X-Line line array series.

PRODUCTION PROFILE 20 Usher: The UR Experience

General Manager Justin Gawne

TPi’s Kelly Murray reports on the tech behind the global superstar’s latest world tour.

Mondiale Group Chairman Damian Walsh

34 Snowbombing www.tpimagazine.com • www.tpiawards.com Cover Photography Usher by Todd Kaplan Contributors Charlotte Goodlass

The mountainside festival, where dance music, skiing, snowboarding and technology hits the slopes.

EXPO 44 Prolight+Sound 2015

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

TPi’s yearly analysis of the AV industry’s biggest trade show is here.

COMPANY PROFILE 64 TPi catches up with Global Infusion Group,

whose tour catering division, Eat to the Beat, is the recipient of 11 TPi Awards.

IN THE SPOTLIGHT 68 Harman’s Soundcraft talks Kelly through

Issue 189 / May 2015

TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence. ISSN 1461-3786 Copyright © 2015 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 2015 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.

70 TPi’s Charlotte Goodlass goes dry for mental

the genesis of its new Vi5000 and Vi7000 digital consoles.

CLOCKING OFF health charity, Mind.

PSA 72

The Show Must Go On?: The PSA looks at how Weather Decision Technologies id helping the live event industry make safer decisions.

MOVERS & SHAKERS 74 The latest industry appointments.

VITAL STATS 78

The Production Office’s Keely Myers talks TPi through her career so far.

07

EVENT FOCUS: Gravity Systems

GRAVITATIONAL SUCCESS BORN IN SOUTH LONDON AND EDUCATED AT THE UNIVERSITY OF MANCHESTER, THE CHEMICAL BROTHERS CULTIVATED A TRAILBLAZING SOUND DURING THEIR HAÇIENDA HEYDAY, WHERE A RISING TIDE OF ACID HOUSE COLLIDED WITH THE CITY’S ALTERNATIVE-MUSIC SCENE, GENERATING THE FIRST WAVE OF BIG BEAT ARTISTS TO EMERGE FROM THE UK. STILL VERY MUCH AN ENTERTAINING LIVE ENTITIY, AS THEY PREPARE FOR A FLURRY OF EUROPEAN FESTIVAL DATES, TPi SPEAKS TO THE BRAND NEW COMPANY CREATING THE BAND’S BESPOKE PLAYBACK TOURING SOLUTION...

The Chemical Brothers’ Tom Rowlands and Ed Simons’ love of alternative rock like The Smiths and New Order brought the duo north, seeking immersion within Manchester’s pioneering music scene.

Almost 30 years later, The Chemical Brothers have amassed an unquantifiable list of plaudits - not least the distinction of being one of the UK’s only truly arenaworthy electronic acts, regularly selling out venues with their eclectic sound and elaborate production design.

Assisting in the band’s success, while also mirroring their cross-country progression, are Matt Cox and Alex Turner, Midi Playback Techs for The Chemical Brothers, who have been with the band since the release of their landmark Dig Your Own Hole album in 1997.

Covering both the north and south of the 08

UK, Cox and Turner recently joined forces at Manchester-based Tour Supply - a premier supplier of backline equipment - where the duo began work on a new joint business venture - Gravity Systems - which will specialise in the design and provision of bespoke playback racks and electronic music systems for multiple applications.

TPi caught the duo working hard to deliver The Chemical Brothers’ first truly bespoke off-stage rack, ahead of the band’s summer performances. “The Chemical Brothers’ onstage setup is a mad collection of analogue keyboards and synthesisers,” explained Cox. “Which they use to build a set that’s different every night and which they can make up as they go. An element of that is audio, which is run from computers and mixed live by the band - this rack is the system which delivers

EVENT FOCUS: Gravity Systems

Opposite: The Chemical Brothers’ bespoke playback rack built by Gravity Systems. Below: The company’s founders Matt Cox and Alex Turner have 40 years of experience between them.

that.

“There is redundancy, an A and B computer, so if one fails the other one will auto-takeover, meaning that the audio never stops,” he said.

“The rest of the kit sends analogue signals to the drum machines and synthesisers to keep them in time, so that when the band presses play at the beginning of the show, the whole thing is on and in sync, meaning they can make it up as they go.”

The Chemical Brothers’ live shows marry modern technology with vintage synthesisers and drum machines, all running in tandem, to allow the band to mix live on stage. The playback world that Turner and Cox inhabit represents a small part of the band’s extensive onstage setup, which consists of analogue synthesisers produced by companies such as Roland, Korg, Sequential Circuits + Octave Plateau, plus newer analogue manufacturers such as Elektron.

These vintage units run in sync with the audio loops that are generated in playback world, which are then mixed and arranged by the band live on

stage. As a result of this ‘live’ process, no show is the same twice.

“This rack is obviously a key element of the show,” Cox continued. “Because it delivers the synchronised audio across all of the devices for the duration of the set, as well as providing SMPTE signals for the lighting and visuals at FOH.” Cox and Turner, who have worked with the likes of Snow Patrol, Take That, Hot Chip and The Prodigy, are no strangers to requirements of large-scale tours. Consequently the duo were quick to point out scalable nature of this kind of technology: “A lot of bands have some form of off-stage playback and if you’re a DJ or an electronic act, almost the entire show is laptopbased,” Cox explained. “Even more conventional high-profile pop / rock bands have some form of off-stage playback, because if they have strings in a song for example, they can’t afford to have an orchestra on the road with them, so that’s got to be recreated somehow.”

For The Chemical Brothers’ off-stage rack,

Gravity Systems incorportaed a selection of hand-picked kit including Apple Macbook Pros, running Logic and Ableton live software, to produce audio and loop playback, as well as a Behringer RX 1602 rack-mount line mixer, to allow monitoring of the Radial SW-8 O / P. A Kenton LNDR, MIDI Line Driver sends MIDI data from playback world to the stage, whilst two Radial SW-8, audio auto-switching units that allow for seamless auto-switching of audio signals in the event of a softwear crash. An Emerson Liebert GXT2, uninterruptible 1500VA power supply, enables the rack to be unplugged and replugged without data ever needing to be reloaded.

The burgeoning Gravity Systems is so fresh that the company’s web presence has not yet gone live, however you can catch Cox and Turner’s handy work on The Chemical Brothers’ upcoming tour, which will kick off in Luxembourg on 10 June 2015, stopping off in 15 countries, before finally rounding off the summer at Bestival, one of the band’s favourite UK festivals. Immediately following this the team will put their lend their redundancy and synchronisation skills to Take That and Disclosure, bringing the number of builds up to an impressive six in 10 months. With all of this excitement ahead, the team are optimistic about their company’s future.

“We have a pretty substantial 40 years of experience between us,” said Cox. As the dynamic duo add the finishing touches to their first project as Gravity Systems, it’s clear to see that this venture respresents a exciting new chapter in these audio professionals’ careers, as well a ringing endorsement for the increased popularity of the bespoke playback system across a wide range of live event and touring applications.

TPi Photos: Jamie Medwell www.thechemicalbrothers.com www.toursupply.com

09

EVENT FOCUS: Violetta Live

VIOLETTA LIVE TOURS EUROPEAN ARENAS WITH MEYER SOUND’S LYON BASED ON THE POPULAR DISNEY TV SHOW WITH MORE THAN 25M VIEWERS, THE VIOLETTA LIVE TOUR IS PACKING EUROPEAN ARENAS WITH THE SUPPORT OF A MEYER SOUND LYON LINEAR SOUND REINFORCEMENT SYSTEM. THE MUSIC AND DANCE PRODUCTION IS PROJECTED TO BE ONE OF EUROPE’S BIGGEST TOURS THIS YEAR, WITH OVER 500,000 TICKETS EXPECTED TO BE SOLD FOR 84 SHOWS ACROSS 24 CITIES. “Lyon represents a giant step forward in performance and overall response,” said Alberto Liras, FOH Mixer for Violetta Live and Senior Engineer at Madrid-based Fluge Audiovisuales, which is providing a complete AVL production package for the tour. “Its response in larger venues is remarkable. The sound is much more defined and listenable, making it easier to mix in unfavorable acoustic conditions.

It is amazing to hear arrays with only 16 loudspeakers each covering an audience of 20,000 with that level of definition and sound pressure.”

Each array comprises 12 Lyon-M main and four Lyon-W wide-coverage line array loudspeakers, supported by 18 1100-LFC low-frequency control elements. 28 MICA and 20 M’elodie line array loudspeakers provide out fill and front fill, respectively, while on-stage foldback consists of four MJF-210 10

stage monitors and dual side-fill stacks of eight M’elodie loudspeakers and two 500-HP subwoofers. System drive and optimization is supplied by a Galileo Callisto loudspeaker management system with three Galileo Callisto 616 array processors. The system was chosen

by Madrid-based Sold Out, the tour’s executive production company.

“Lyon is a perfect match for this tour based on sound quality and production requirements,” reported Alberto Bravo, Production Director for Sold Out. “Exceptional clarity, music quality, and very high SPLs are all of great importance, as all the shows are in large sports arenas. But it was also critical to have a compact, self-powered system, as truck space was extremely limited due to the massive amount of staging, lighting, and video production gear involved.”

According to Bravo, the system has to caters to audiences of all ages. “Violetta Live

is a family show with nearly 40 percent of the audience being parents, so we needed a system with smooth and clear response for the very young but also with enough power to satisfy the parents’ listening tastes,” he said. “Lyon has proven exceptional for both.”

The Fluge-provided audio package also includes DiGiCo SD5 and SD10 digital consoles for FOH and monitors, respectively, as well as Lectrosonics Venue wireless systems outfitted with DPA d:fine headset microphones, Shure UHF-R wireless systems with SM58-capsule transmitters, and Sennheiser IEM systems.

Featuring TV star Martina Stoessel, the Violetta Live tour stops off in Spain, Portugal, Italy, France, Holland, Belgium, Switzerland, Germany, and Poland and is produced by DG Medios y Espectáculos of Argentina.

TPi www.meyersound.com

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05/05/2015 11:14

EVENT FOCUS: Old Barn Audio Below: Doug Hunt of Doug Hunt Sound & Light with the MLA Compact System; Hunt with Old Barn Audio Directors’ Phil Clark and Neil Kavanagh.

OLD BARN AUDIO INVESTS IN MLA COMPACT TO MEET MARKET DEMAND WITH THE FESTIVAL SEASON FAST APPROACHING AND LOCAL AUTHORITIES ACROSS THE COUNTRY SEEKING TO REDUCE NOISE POLLUTION AT KEY EVENT SITES, KENT-BASED OLD BARN AUDIO HAS TAKEN THE ENTERPRISING STEP OF PURCHASING A 16-ELEMENT MLA COMPACT SYSTEM FROM MARTIN AUDIO TO HELP MEET WITH THIS ANTICIPATED DEMAND.

Old Barn Audio Director Phil Clark explained that, given his company’s history with Martin Audio, coupled with the increased demand for the MLA technology, this move was a logical one.

“We are not a rental company and we have no intention of competing with rental partners.

But having done our research, we noted the extent to which production companies are cross hiring from each other on peak weekends. We believe it is sensible to make more enclosures available on a dry hire basis, along with the flying frames and cabling we can provide an eight-element aside solution.”

Clark added that he and partner Neil Kavanagh are mindful of the frequency with which the award-winning MLA (Multi-cellular Loudspeaker Array) is now appearing on riders 12

a factor that helped drive the decision forward.

“MLA Compact is a problem-solving PA with a reputation that’s spreading through the industry,” Clark summarised. “The purchase represents a major step forward for us, and while we hope it also enhances Old Barn Audio’s reputation, we want the major rental companies to look at us as partners, not competitors, and as a resource for offering trouble-free hire. The sub-hire market does not have to cover just the UK either - we are in direct contact with many of our European MLA partners to be able to offer this cross-hire to them as well.”

Old Barn Audio already enjoys subdistributor status with Martin Audio and are the company’s main UK distributors for MLA Mini, a system it also holds in its rental and cross-

hire stock. The company has also supplied an MLA Compact system to Doug Hunt Sound & Light while, as an installer, it has specified many Martin Audio systems over the years within both British and international portfolios.

Al Brown, Martin Audio’s UK National Sales Manager had the final word: “For the last three years, Martin Audio’s share of the UK Festival market has grown exponentially, and we already know that this year will be stronger again. Old Barn Audio’s vision to take advantage of this makes perfect sense and we are happy to support them in this opportunity.”

TPi

www.oldbarnaudio.co.uk www.martin-audio.com

EVENT FOCUS: Star Events Group

STAR EVENTS PUBLISHES FIRST CDM REGULATION GUIDANCE FOR LIVE EVENTS Star Events has published CDM Ready! the first event industryspecific interpretation of the updated Construction (Design & Management) Regulations, written to complement the recently released Code of Practice document.

Introduced on 6 April, the revised regulations specify that all events with structures must have a client who appoints both a Principal Designer (PD) and a Principal Contractor (PC). The PD’s primary role it is to ensure that health and safety is planned into a project from the design stage through to on site development, while the PC takes charge of, and manages, health and safety on site.

Available to download from the company’s website, Star Events’ 20-page CDM Ready! document draws on the HSE’s latest draft, to explain the impact on the event industry and how to comply.

The document goes into detail on the company’s response, from designing work

14

at height where possible, to creating a raft of measures to protect workers who may be at risk of injury from falling - all of which come under the SEWPS umbrella (Star Events Worker Protection Systems).

The HSE said: “Anyone appointing PDs / Designers and PCs / Contractors must take the appropriate steps to satisfy themselves that those who will carry out the work have the necessary skills, knowledge, experience and organisational capacity, to carry out the work in a way which ensures health and safety.”

Roger Barrett, Special Projects Director at Star Events, commented: “The law is in place and we have addressed the fact that there isn’t any event industry guidance out there yet. The HSE will publish a document in due course and CDM Ready! is painstakingly researched to stay in step with those guidelines.”

Download your copy from the link below.

TPi www.stareventsltd.com

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26/03/2015 12:00

EVENT FOCUS: Electro-Voice Product Launch

THE RETURN OF ELECTRO-VOICE JAMIE MEDWELL’S FIRST EXCURSION WITH TEAM TPi BROUGHT HIM TO THE CITY OF STRAUBING IN LOWER BAVARIA, HOME TO VETERAN AUDIO MANUFACTURERS ELECTRO-VOICE, WHICH - RUMOUR HAD IT - WAS PLANNING A TRIUMPHANT RETURN TO THE MARKET WITH THE RELEASE OF ITS NEW X-LINE LINE ARRAY SERIES. Founded by Lou Burroughs and Albert Kahn in 1927, Electro-Voice boasts a rich cultural heritage, delivering the microphones of choice to renowned artists across a diverse range of genres, from post-rock instrumentalists Mogwai to American neo soul band The Roots. EV even picked up an Oscar at the 1963 Academy Awards for its 642 Cardiline shotgun microphone, the first Oscar ever awarded to an audio manufacturer.

However, as EV’s International Sales Manager Guillermo Wabi told TPi, recent years have seen EV take its eye off the prize. “The company fell asleep a little bit,” Wabi explained.

“We didn’t listen to the market early enough…

But we’re wide awake now and we’re listening to what the customer wants!”

The wake-up call in question is what Wabi characterises as a shift in industry priorities: “I’m a firm believer that the entire industry has changed from an engineering-driven industry to 16

a market-driven industry.”

And what is EV’s response to this change?

The X-Line line array series - two dynamic line array models, consisting of the install-focused X1 and the touring-driven X2, which Wabi hopes will allow end-users the flexibility to choose the package size that best suits their needs.

“Everybody’s looking for the next new toy,” Wabi said. “But we weren’t in any rush, so three years ago we started designing, prototyping and putting things into play. We used 3D-printers and CNC routers, anything that would allow us to become more flexible in the design and the research stages.”

“The demand at the moment is for a complete turnkey package, nothing missing,” Wabi continued. “So you can buy it, bring it to a show, and it’s ready to go. We’re taking things a little bit slower, simply because we want to be completely certain the technology that we’re deploying is right for the market and right for

the industry.”

EV’s cautious marketing style reflects the company’s newfound philosophy, which places the needs of the end-user ahead of industry predilections. However, as Wabi explained, EV hasn’t ruled out the possibility of offering more comprehensive systems when the time is right: “We will absolutely consider turnkey solutions in the future, because that is what the market wants. It makes perfect sense; we optimise our loudspeakers with our amplifiers and our DSP. Why would you expect it to function better with other equipment? Our algorithms are different, our componentry is different, we optimise it to our technology, so it will sound better with our technology.”

Research and development for the X2 brought EV into conversation with dozens of touring professionals, whose real-world insights, combined with the company’s line array knowhow, produced a system that was specifically targeted at theatre performances, concerts and

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07/04/2015 09:20

EVENT FOCUS: Electro-Voice Product Launch

First page: The Electro-Voice team during the launch of the company’s new X-Line line array series. Below: EV Senior Product Manager, Tony Sawyer, and Global Product Manager, Guillermo Wabi, demonstrating the X-Line’s integrated rigging system; The X1 and X2 models in a flown position.

live events.

The X2 features a 12-inch SMX woofer, which is coupled with an EV-exclusive MidBand Hydra device that emulates the acoustic behaviour of a double line of four three-inch point sources to deliver superior mid-band coupling of the array, while also maintaining the efficiency, power and bandwidth of a 12-inch transducer.

Featuring a DVN3125 12-inch neodymium woofer, the X2 was developed using Finite Element Analysis, to optimise motor, suspension and electrical design for very low distortion, high efficiency and maximum intelligibility at high SPL. Yet again reinforcing EV’s customer-driven approach, the X2 features an easy-to-set-up integrated rigging system, complete with a captive twist-lock. This multi-arraying system is designed to simplify the rigging of any

size array, significantly reducing load in / out time and production costs. The IRS has been engineered with the flexibility to deploy a system using the two most common methods of array set-up: compression by using a pull-up kit and fixed angles, which can be locked by using secondary rigging pins.

While the X1 mirrors much of the X2’s functionality, its application is firmly rooted in the install market. The HF section in the X1 incorporates two new ND2R ring-exit highoutput two-inch titanium compression drivers, coupled with a pair of WCH constant energy planar wave generators on a 90° waveguide, optimised for high efficiency, uniform pattern control and smooth, extended linear response.

The ring-coupled ND2R and WCH circular hydra eliminates wave distortion and maximises the acoustic output of this medium-format compression driver, with in-phase summation

past 16kHz. “We’re being very flexible,” Wabi said of the two models. “Control is a must for live sound, because it has to be reliable and consistent.

That’s what the market wants; flexibility in install, but control, performance and repeatable sound in live.”

Thoroughly convinced by EV’s new philosophy and the reasoning behind its dynamic re-invention, all that remained was to hear the X1 and X2 in action. A varied selection of classic hits demonstrated the impressive capacity of these versatile arrays, before EV left our unprepared eardrums ringing with a performance of Ramstein’s Ich Will.

Kudos, EV: nothing says comeback quite like industrial metal played at brain-dissolving volume!

TPi www.electrovoice.com

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20/03/2015 11:27

PRODUCTION PROFILE: Usher

USHER: THE UR EXPERIENCE WHEN PHENOMENALLY SUCCESSFUL R&B STAR, USHER, EMBARKED ON HIS LATEST TOUR - THE UR EXPERIENCE - HE RELIED ON THE CREAM OF PRODUCTION PROVIDERS. KICKING OFF IN MONTREAL, CANADA, IN NOVEMBER 2014 AND ENDING AT THE 02, LONDON, IN MARCH, IT SPANNED THE GLOBE, VISITING VARIOUS CONTINENTS AND THRILLING FANS THE WORLD OVER. DURING ITS FINAL LEG IN EUROPE, TPi’S KELLY MURRAY VISITED THE CREW TO TALK TECH TALENT AND CREATIVE VISION. The UR Experience’s touring team is led by industry veteran and Production Manager, Harold Jones [Beyonce, Destiny’s Child] and new addition, Tour Manager, Vizion Jones.

Facilitated by an abundance of top service providers and promoted by Live Nation, the show itself is another stunning visual creation from the Silent House crew, namely Baz Halpin and Chris Nyfield. The design is brought to life by Lighting Designer Eric Wade, who has toured with Usher for 15 years now. At the helm of the tour’s lighting operations as it travels across the world, Wade is still very excited by the tour, five months after it began.

This is due in part to his penchant for incorporating the latest lighting technology available. Sat on a rather luxurious Beat 20

The Street tour bus post soundcheck in the UK, Wade told TPi: “Usher wanted The UR Experience to be able to change every day, he wanted people to feel every part of it as it evolves.”

This is certainly the impression the singer’s fans get, as the daily technical rehearsals are not abandoned until every aspect meets Usher’s specific criteria. The set changes daily too, so if you were to visit the show in more than one city, chances are you’d get your money’s worth from the performer. Prior to the tour’s first outing, the show was programmed during rehearsals at Rock Lititz Studios in Pennsylvania, followed by full production rehearsal at the Liacouras Center of Temple University in Philadelphia. “We had a good amount of programming time, thanks largely to

the experience of Production Manager Harold Jones, who really knows what it takes to make a good show. We couldn’t have done half of what we did without Harold making sure we had the time to do it,” said Wade.

LIGHTING AND SHOW DESIGN Wade’s lighting rig, supplied by VER, comprised an array of fixtures, some of which Wade described as his ‘new toys’. The rider includes 56 Martin Professional Viper AirFX, 55 Martin Professional MAC 2000 XB washes, 15 Martin Professional Quantum washes, seven Martin MAC 700’s, 16 Clay Paky Sharpy beams, 10 Clay Paky sharpy washes, 90 TMB Solaris LED Mozarts, 43 TMB Solaris LED Flares, 216 GLP X4’s, 25 Aryton Magic blades, 64 Aryton Magic panel R’s and 12 Elation Professional Sniper 2Rs.

PRODUCTION PROFILE: Usher

Opposite: R&B star Usher has sold over 65 million albums worldwide, and embarked on the UR Experience to showcase his songs live. Below: Tait, VER and Control Freaks Systems provided the visual look of the show, which was designed by the team at Silent House.

Working from upstage-automated ladders, one of the reasons LD and Show Director Wade turned to the high-energy hybrid Sniper was for its intensity and brightness when compared to the overall rig.

Associate LD Eric Marchwinski and Assistant LD Jason Winfree both worked extensively to incorporate the Snipers into the UR Experience.

“Eric Marchwinski made these lights do everything possible for me and Jason found places in the system for them and relentlessly made sure they were in position each day and looked right. My team is amazing!” stated Wade.

With the ability to produce beam looks, spread scanner and laser-like effects at dizzying speeds, and with 14 dichroic colours and 17 static gobos to choose from, the Sniper gives designers a lot of options. But for Wade it is the support he has received that has been the determining factor. “It is like haveing the support I used to get back in the day when everyone jumped on a problem as soon as it happened, or helped make changes to things when we threw out an idea or improvement.”

For Wade, getting quick and timely support from manufacturers is a major reason to specify their lights. “If I put a pile of lights on a show and know I have the support from the lighting vendor and manufacturer, it makes a difference when designing a system,” he said.

A staggering total of 216 GLP X4 S LED spots are mainly deployed on the upstage wall. Wade

commented: “I wanted a wall of light from the very beginning and Baz and Chris made the space. The lighting system is a combination of asymmetrical and symmetrical. However, the GLP ladders are symmetrical and run on automation up / down / stage left / stage right and we got many different looks out of them as a result.”

Wade, who has been working with Usher since 2001 (initially alongside Peter Morse), can trace his own history with the GLP X4 S back a long way. “It was one of the first LED fixtures to feature in my designs back at the beginning of the LED craze. They were a great fixture then, but over the years it has developed into a fixture that is highly dependable, very bright and has many bells and whistles.”

He added that having Silent House creative directors Baz Halpin and Chris Nyfield on the team has been a huge bonus. “They are great to work with, but being lighting guys as well really makes a difference, as they left me all kinds of places to put lights within the set. When everyone starts throwing out ideas it evolves into something we can all be really proud of.”

Despite the large quantity deployed, the X4 is introduced very gradually into the show.

“I didn’t want to turn on all 216 units on the upstage wall in the first song and lose that element of surprise, because when they come on at once, you can’t help but look on in awe.

“So instead, we started introducing them behind twin wall covers, which look like frosted

glass, that Baz and Chris designed. In this way they start as a scenic element and end up uncovered with a giant rock ‘n’ roll look of tight beams and colour. In fact they are one of the main focal points of the system.”

Wade is also the first US-based LD to put Ayrton’s Radical new MagicPanel R out on a major tour. His rig includes 64 active MagicPanel-R units in the air, plus 25 Ayrton MagicBlade R fixtures under a transparent forestage. The common component of the entire Radical line is an individually-controllable, 15W RGBW multi-chip LED source coupled with a 67mm diameter 4.5° collimator optic.

MagicPanel-R puts these emitters into a five by five matrix, while MagicBlade-R mounts them in a unique, seven-in-a-row, in-line configuration.

Both fixtures feature a fast moving yoke with continuous, unlimited rotation on the pan and tilt axes. It is not the first time Wade has used Ayrton lighting products. “I first used Ayrton’s MagicPanel 602 on Maroon 5’s Overexposed European tour in January 2014. During the three-week run the MagicPanel 602 fixtures were the only ones we had absolutely no problems with. We didn’t have to change a single one! I liked them so much I decided to incorporate 64 of the new MagicPanel-R into my design for Usher’s international tour.”

Wade has made MagicPanel-R the main feature of four automated, diamond-shaped lighting pods, custom-made for the tour, each hosting 16 MagicPanel-R units. The pods are 21

PRODUCTION PROFILE: Usher

Below: Baz Halpin created a set deisgn which involved moving set pieces, clear sight lines and various lift gags; Usher sang on a Shure UHFR microphone with a Telefunken M80 capsule.

suspended above the stage and can be raised, lowered and tilted to any angle above the performers to create different shapes and looks throughout the show.

“I used Control Freak Systems and Earlybird Visual to pixel-map all of the MagicPanel units which enables us to send video into them as well. Control Freak Systems is the control backbone of my show while Earlybird Visual did all of the MA 3D files for the Ayrton products to give us beautiful 3D renderings of the fixtures, along with great pre-programming.”

The stage incorporates a number of lifts that are raised and lowered to deliver performers and create scenic elements. The combined movement of lifts and pods with that of the Ayrton fixtures above and below stage creates a very dynamic show. “At one point - during a breakdown in OMG - the pods are flown in so low as to wrap around Usher in a shape I created as reminiscent of the ‘Beamer’ space ship from Falling Skies (the post-apocalyptic sci-fi television series). Usher dances within

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the ‘spaceship’ while the MagicPanel-R configuration sprinkles light all around him before all are returned back up to the grid, flattening out as Usher raises his arms to send it away. It makes for a great opening song look!” Cueing of the pods and all automation is handled by assistant lighting designer, Jason Winfree.

Wade also took the very first shipment of TMB Solaris LED Mozarts. “They’re really cool to work with - you can separate TMB pixels and have lots of fun with them. We have almost 100 of them, and they’ve been working out great for the show,” he said.

Wade runs the entire show from an MA Lighting grandMA2 console, a desk which he describes as “the Cadillac - why would I want to use anything else?” This sentiment is echoed by the rest of the visuals team, who also incorporate the consoles; a total of four desks are used during the show; two grandMA2 full size and two grandMA Lights.

Wade concluded: “The team VER put

together sorted me out in every way. There are many great lighting companies these days so at the end of the day it’s all about the service and support you will get. VER has absolutely done this for me on this tour.”

VIDEO Award winning Video Director Chris Keating had worked with Wade previously, on a US tour with LA rock pop outfit Maroon 5, and has known PM Harold Jones since 2003. Combined with Usher, Keating views working with this calibre of touring personnel as a dream scenario.

“During rehearsals, Usher was often one of the first people in and the last out - I really admire his work ethic,” said Keating. “He’d go through sound, choreography, and other elements, and then when those departments were leaving, he’d stay with the lighting programmers during the night. I think in that respect it’s fair to say he’s a creative director alongside the tour’s creative team.” The tour’s Video Programmer is Kirk J. Miller.

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PRODUCTION PROFILE: Usher

Below: The dancing crew was choreographed by Jamaica Craft.

Keating cuts IMAG, including a wide shot for recording use, which the singer watches back each night. “He critiques himself and the production as a whole - we’ve not done a show yet that he’s not watched. That’s the sort of professionalism we’re working at here,” explained Keating. True to form, when TPi are on site, Usher can be found roaming around the arena floor on a gold wheeled segway, ensuring every part of the arena looks and sounds as he envisaged.

“Eric lights for a live audience primarily, but his work is great for the cameras as well.

His lighting really makes Usher stand out on camera, which is great for me directing IMAG. I came from the TV world so my first passion will always be camera work. People can dispute it, but I think it’s an art form in itself. I read Usher’s body language all the time and I have to be able to translate that for the big TVs.” I do a lot of cinematic shots too; one of my favourites songs in the set is the track Climax, which basically shows Usher stood on the risers with an LED screen behind him. It’s very minimalistic in a lot of ways, and Eric never lights him from the front, so on this song it’s almost like a half silhouette.”

“I’m pretty purist about the side screens.

Steven Foster and I have a great rapport when it comes to that. He adds texture but never to the point where we lose the focus, which is Usher,” said Keating. The video package, from Control Freaks Systems comprises six cameras; two at 24

FOH, a tracking dolly in the pit, stage left, and hand held stage right with some additional stage cameras for the musicians. For control, Keating utilises a Ross Synergy Digital Switcher 3ME and content is run through PRG Mbox media servers.

VISUAL CONTENT The shows features just under 50% IMAG on the onstage LED screens, with the rest being video content created by Geodezik [Katy Perry, Justin Timberlake], a company which has worked with Halpin on many high profile tours before. “I’ve known Baz for many years, and I think this show is by far the best thing he’s ever done. I’m so happy to be involved with it,” enthused Keating.

Wade said: “Olivier Goulet from Geodezik has been brilliant, we’ve known him a long time and I’m really impressed with the 3D visuals they have provided.”

“It breaks away from the stereotypical,” agreed Keating. “It’s a very rounded show and I love the set design. It’s still a big deal for me that I get to do this everyday; I’d never take the best job in the world for granted,” concluded Keating.

STAGING AND AUTOMATION Once Tait received a brief from Silent House, the staging elements could begin to shape the physical structure of the design package.

Tait’s Project Manager for The UR Experience,

Matt Hales, explained: “We immediately began separating the show into elements that we know will be custom fabricated and those that can be pulled from our rental inventory. There is always a period of back and forth with the artistic design team and the production team to find an ideal resolution of form and function. It was an eight-week process from development to design, manufacturing and integration.”

Everything in the show was designed to be clean and minimalist, without sight lines being obstructed. “We implemented a lot of atypical construction methods in order to keep the obtrusive nature of structure to a minimum,” said Hales. “For example we built a significant amount of the scenic elements that all had integrated LED by utilising clear polycarbonate laser cut and bent into structural shapes. This kept everything light weight and compact, as well as virtually transparent. The only time you really visually caught the structures was when lights hit them, and because they were clear polycarb it just ended up refracting the light for some really diverse looks,” he continued.

The show design called for various staging elements including a rolling main stage with integrated piano and prop lifts and eight matrix video lifts - custom Tait lifts with integrated 10mm video on three sides which could be used in numerous configurations, while giving positional feedback to the video crew so that the image can be correctly translated and masked onto the display surfaces. The stage

PRODUCTION PROFILE: Usher

Below: Head of Automation, Chris Davis used a Fisher Navigator system from Tait.

also featured video track truss (for the automation of the video wall), the custom-built lighting ladder that hung from Tait’s NAV hoists and track trolleys allowing each ladder independent horizontal and vertical automated axis.

A static blade wall was made up of a scenic polycarbonate panelled wall with integrated video strips. “This gave a very slender forced perspective video lattice work that added a lot of dimension to the depth of the show,” added Hales.

The blade wall close down was another custom element of integrating video blades for a similar lattice look to the blade wall itself but this piece boasted an opaque appearance. It was also hung on Tait’s NAV Hoists. Assistant LD Jason Winfree helped to design the bespoke lighting pods, which VER then manufactured. “They’re designed so that you can leave them loaded up with fixtures during transportation, making our lives a lot easier,” explained Winfree.

Once all of the components were approved, Tait ventured into rehearsal space, Rock Lititz, which Hales described as a “fantastic resource.” Based within very close proximity to the Tait HQ,

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it proved an invaluable part of the pre-production process. “One of the largest hurdles we try to overcome on nearly every show is making sure that the system in its entirety has been fully assembled integrated and tested,” stated Hales. “With tours such as Usher’s that have so many components converging into one massive production, you rarely get the opportunity to fully integrate a show prior to it hitting the road; you do the best you can, but there is always a piece that is too tall to hang in the shop, or too large to be set up in one piece.

This results in a lot of freighting things back and forth as the show often evolves and undergoes changes. Yet all of these things are more easily addressed when the rehearsal space is right next door!”

Operating the automation for Tait is Chris Davis, whose name was put forward by the company following his work with Cirque du Soleil’s Michael Jackson: The Immortal World Tour.

From the outset, it was clear that this tour required some serious skill. “The production rehearsals were a very hard time for us in the automation team; there were only two of us touring the system.

PRODUCTION PROFILE: Usher

Below: FOH Engineer, Horace Ward used a DiGiCo SD5 console with Focusrite’s RedNet system; Lighting Designer, Eric Wade utilised no less than four MA Lighting grandMA2’s on the rider.

We did have a Tait integrator with us for the four-week rehearsal period but still the demands were quite high,” explained Davis, who worked very closely with his automation assistant, LC. “LC, my Number Two for this project, looked after the system during the day to facilitate lighting swap outs and video demands, then I would come in to programme during the afternoon for the stage lifts and work with the dancers, then facilitate the lighting department’s requirements during the overnight programming sessions.”

Once the technical rehearsals were complete, Davis was handling 55 axes, 53 of which are controlled by a Fisher Navigator automation system. They are broken down into manageable sections; 12 NAV hoists lifting and moving four lighting pods over the stage, seven NAV hoists moving a set LED piece known as the ‘snowplough’, that covers the front of the stage.

Eight tracking light ladders at the back of the stage each utilised two NAV hoists and a DC trolley for the tracking side. There is a video

wall which splits in half and tracks on and off stage, eight matrix lifts on the stage, a prop lift and a ribbon lift (controlled by a set carpenter under the stage). The lifts played a big part in communications between the crew and cast.

“One of my major concerns during rehearsals was that we approach the subject of health and safety early. It goes without saying that nothing moves on the stage, in the air, or on the floor, unless there is always someone on the stage watching,” said Davis. “Choreography started to throw other challenges our way, as there is a lot of interaction between the lifts, dancers and musicians. Therefore, during the show LC is always on stage just behind the keyboard riser with views of all the lifts. I do not operate unless I get the go-ahead from him. It’s a simple method, but it’s proven to work time and time again. We also have another spotter on stage right.”

Wade added: “We take data from the Fisher Navigator rack which allows us to track content in whatever positions the lifts are in. Then we 27

PRODUCTION PROFILE: Usher

Below: Clair Global supplied its i5 and i3 system to achieve outstanding audio zoning.

drive it all through the Control Freaks system rack via PRG Mbox media servers. Between the show design, the artist and dancers, it looks great every night.”

“The main challenges have been moving the show around the unique venues in Europe,” continued Davis. “It has been a lot of fun thanks to our great production and automation team but without the help of LC, some things would not have been possible. With the lighting ladder moving truss, video wall tracking truss, video blade truss, lighting back truss and the points on the mother grid, we’re not exactly a lightweight show either, so credit has to go to the talented rigging team we have with us,” he concluded. All motors and rigging equipment was supplied by VER, headed up by Chief Rigger, Art Mcconnell.

SPECIAL EFFECTS John Arrowsmith, the tour’s Pyrotechnic Shooter, alongside his assistant, Amanda Pindus is responsible for all of the special effects seen throughout the 90-minute performance.

Supplied by Las Vegas-based Pyrotek Special Effects, the show’s effects comprised gold flitter mines, 11 red mines, 11 purple mines, 11 yellow mines and 11 blue and lime mines from NextFX. Arrowsmith also integrated various effects from Le Maitre including 13 silver gerbs and 12 Salamander canisters along with six Pyrotek Salamander units and 16 cryo jet heads.

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“The show consisted of 12 one second silver gerbs for the opening pyrotechnic sequence of the show, the final song, Without U had five cues of various coloured mines. For U Make Me Wanna we deployed six Salamander Quad Pro flame units and DJ Got Us Falling in Love and Without U used 16 Cryo Jets (CO2), adding a visual spectacular to the production which was designed in part by myself, alongside Baz Halpin,” explained Arrowsmith. “The effects themselves are flush mounted into the stage for a clean look along with the Salamander flame units. The flush mounted items were manufactured by TAIT Towers. All of our pyrotechnics were manufactured by NextFX USA and LeMaitre Special Effects UK. Control systems were a Pyrodigital Firing System for the pyro effects and a Jands Vista console for the CO2 Cryo Jets.”

With so much going on in terms of visuals, and with a frenzy of dancers to contend with, the special effects team had their work cut out. “The greatest challenge was coordinating with the dancers during the show, especially during the track U Make Me Wanna, while we utilised the flame units,” continued Arrowsmith.

“We had to make sure that they knew where the flames were - although it’s not difficult to remember once they go off! - but the choreography between what they needed to do and what I needed to do was a serious concern.” The tour’s choreographer Jamaica

Craft ensured the dancers were on top of their game throughout the tour.

“Thankfully the entire tour went without a hitch,” he confirmed. For the audience’s safety, the usual restrictions applied, meaning the effects needed to be a minimum of five-metres or 15ft from the closest audience member. “We had ample room for that and the experience was great. Usher is a really nice guy who knows what he wants in his shows. He’s great to talk to about making the production happen. We also have a great crew starting from Harold Jones, our Production Manager and Libby Dostart, Production Coordinator. They, along with the rest of the crew have made for a very enjoyable tour,” he smiled.

AUDIO CLARITY Usher’s audio requirements came from Pennsylvania-based Clair Global. The sound supplier was tasked with designing a system that would cover a show of this scale, within budget. For Systems Engineer Mike Alison, this is his first tour with Usher, yet he has worked with some of the crew before hand. The relationship Usher has with Clair goes back many years, with the company delivering optimal coverage for the singer’s full throttle performances.

To satisfy the big club banger sound of the R&B star’s shows, Clair provided 16 i5 enclosures to handle the main left and right arrays and 14 boxes of i-3’s flown around the

PRODUCTION PROFILE: Usher

Below: Video Director, Chris Keating, sees IMAG direction as an artform in itself, allowing the fans to see the very best of Usher’s performance; Systems Engineer, Mike Alison at FOH; The monitor crew: Tim Joyce, Ryan Cecil and Jeremy Bolton; Steven Foster on a grandMA2 Light.

stage to achieve optimum coverage. Said Alison: “We are using Clair’s i5 system for the main PA along with the New CP 218 powered subs flown for side fill. The i5 is the main stay of the Clair’s arena and stadium tours, and the new CP 218 sub is - in a word - wow! It’s so powerful, musical and in your face if you want it to be.

There is no need for front fill and there are no ground subs; our PA design covers these venues very well.”

The system is run with Lake controller software. “We are running eight Lake LM44 processors for system EQ, steering on the subs and signal distribution. For amplification, we are running the Lab.gruppen PLM 20000Qs. It has two channels of DSP per amplifier, along with Dante networking. We have two amplifier racks per side with nine PLMs on each. The Clair CP 218 subs are powered with a custom Clair amplifier built into each cabinet. Alison concluded: “The tour has sold well, sounds great and had a very smooth transition from the US to Europe - what more could we ask for?”

FOH SOUND At FOH is Horace Ward, an engineer who has been associated with Clair for over 25 years thanks to his high calibre of touring cliental.

The expert engineer began working with Usher almost 20 years ago, all the way back to his support slot for Janet Jackson’s Velvet Rope tour. Working with the world’s biggest artists takes a certain kind of mentality and to stay 30

ahead of the game, each tour has to be bigger and better than the last in every respect, from visuals and stage performance to sound, so a constant re-upping of technology is necessary to wow the audience. For Horace, Usher’s UR Experience tour was the perfect chance to take his already headline-grabbing game to a new league and, working with Clair and a top class mixing system; a DiGiCo SD5 console and a brand new Focusrite RedNet networked audio system.

The RedNet System consists of 96 channels of RedNet4 microphone pre amps delivering the stage inputs to FOH via Dante at 96k and distributing them to the SD5 through three RedNet6 MADI bridges. An Avid ProTools HDX2 system is also connected to the RedNet Dante Network via three RedNet5s allowing for recording and playback to and from the RedNet system. A RedNet PCIe card in a Thunderbolt Magma chassis coupled with a Macbook Pro running Reaper provided a redundant playback and record system.

The project started in summer 2014 when Ward, alongside the team from Clair Global, put together plans for a 96-channel Dantebased digital audio system based around a DiGiCo SD5 console feeding a gargantuan PA system. “DiGiCo make great consoles, it’s a very powerful system we have out here. The only thing I’m limited on this desk, is the amount of waves plugins I can use, and I do use a lot of plugins to colour,” said Horace.

To accompany this power pair, the teams assembled what can only be described as a great wall of Focusrite RedNet devices, to interface between the stage, FOH and two recording systems. A total of 12 Focusrite RedNet 4 mic pre amps formed the front end to the system, taking 96 inputs from the stage at 96kHz and distributing them to FOH, where three RedNet 6 MADI bridges interfaced to the DiGiCo digital audio infrastructure. RedNet 1 and RedNet 2 A-D / D-A converters provided analog connectivity for Ward’s array of outboard processors, while the main Pro Tools HD recording system relied on three RedNet 5 HD bridges, to provide 96 channels of recording and playback between the Pro Tools HDX cards and the Dante network. A redundant recording rig powered by Reaper running on a MacBook Pro with Thunderbolt Magma Chassis was equipped with a RedNet PCIe Card, providing it with direct access to any and all Dante audio streams.

It was Ward who pushed for RedNet, having demoed a system at Clair Global’s HQ, and following positive prior experiences using RME preamp front-end on the road with Lady Gaga.

“We tried the RedNet 4 microphone preamp units and were thrilled with the powerful sound that we heard coming through the Clair PA during a full system test. The actual sound of the preamp is phenomenal. I was immediately impressed and decided on the spot to incorporate the RedNet system for Usher.”

PRODUCTION PROFILE: Usher

Below: VER and Tait custom built various bits of the set, including lighitng pods and an LED screen.

THE FAMILY

GER

JUST GOT BIG

NEW MONITORS Monitors are primarily Shure PSM 1000 IEMs, Clair CM 22 floor monitors, and Clair CP 118 sub bass enclosures for Usher and the band / dancers. Monitoring side fill consist of CP-218s and CO-8 micro line array enclosures for overall stage coverage. Shure UR4D / Axient belt packs and handhelds cover the wireless inputs. To accomplish all of this, Monitor Engineer Ryan Cecil uses a DiGiCo SD7 console. “I’ve been working with Usher for four years now, but this is the first full tour I’ve done with him. It’s going great, it’s a lot of fun working with this crew and Clair is a really organised service provider,” he told TPi. Cecil was using Avid Profile desk previously, but as the band grew, he needed to move onto a DiGiCo console in order to better handle all the necessary inputs. The SD7 sounds good and it looks really cool too.” Usher and the entire stage crew all wear in-ears from Shure, another popular choice of Cecil’s who is also the tour’s RF Tech. “Usher wears Sensaphonics in ears, so we try to keep the whole band on those. There’s just one guitar player who wears Ultimate Ears.

All of the transmitters are Shure PSM1000’s, and the wireless system we’re using is Shure’s Anxient wireless UHFR with the new Axient spectrum manger. I just love Shure!” he said.

Usher’s microphone package is a hand held Shure UHFR with a Telefunken M80 capsule, and for the headset model - for the heavily choreographed songs - the star uses a Crown CM311. “Shure’s Axient Spectrum Manager really takes any headache away on a job this big,” continued Cecil. “Two years ago touring this size channel count would have taken me 90 minutes to programme, but with Shure, it’s so much faster.” The audio crew was completed by Monitor Tech, Jeremy Bolton and PA flyers Tim Joyce and Tim Peeling.

CATERING Keeping all of the crew fuelled on this demanding touring schedule is Sean Stone of Eat Your Hearts Out, Head Caterer for the UR Experience. With a load in at 8am, Stone and his crew prepare breakfast for 80 people, a service number which is replicated at lunch time. For the dinner sitting, EYHO caters for 150 people on average. Stone and the EYHO team are feeding the entire tour personnel, from Usher himself to the production crew and visiting friends and family members.

“The tour has been lovely for us, and everyone is enjoying the food. Well, I suppose I have to say that!” said Stone. “But I think it’s true! Everyone seems very happy to be here, which makes a difference. If the crew are easy going and laid back, it makes meal times a fun part of the day.

On the whole, the menu is varied, lending itself nicely to the popularity of Asian food.

When TPi visited, Katsu chicken curry was a main dish gaining approval from the crew, alongside some traditional British Fayre. “A lot of the crew also like typical English cuisine, which means there’s a few stew and dumpling requests too,” said Stone.

“Usher has a varied diet, he doesn’t eat wheat but does like game, so lots of dark meat.

In contrast, we have a few vegans on the tour, so our pastry chef creates a lot of beautiful vegan desserts. We make sure everyone is taken care of,” he concluded.

 37 HIGH POWER RGBW LEDs  NEW ULTRA FAST ZOOM  INTERNAL MACRO EFFECTS  INDIVIDUAL PIXEL CONTROL  BEAM-SHAPE

NEW

 10 / 20 HIGH POWER RGBW LEDs  NEW ULTRA FAST ZOOM  210° TILT MOVEMENT  INDIVIDUAL PIXEL CONTROL  INTERNAL MACRO EFFECTS

AIR, SEA AND ROAD LOGISTICS Paul Jones of Sound Moves UK planned the import of Usher’s production into the UK in late 2014. The key to this was finding a site large enough to be able to handle the magnitude of trucks. After liaising with EST, an airfield in Suffolk was chosen as the transfer hot spot and 31

PRODUCTION PROFILE: Usher

Below: The catering crew from Eat Your Hearts Out, headed by Sean Stone; Beat The Street provided tour buses for the entire production; Inside a tour bus, the touring crew traveled with home comforts; EST supplied 17 trucks for the tour in the UK and Europe.

in January 2015 the cross-load of 15 40ft sea containers onto the 17 awaiting tour trucks was implemented.

Following this, trucking company EST provided production logistics for some of the world’s biggest names. EST Sales & Operations Managers, Ollie Kite and Del Roll both have a colourful history with Usher’s PM, Harold Jones.

“We actually go way back with Harold,” said Kite. “All the way back to the early 1980s in fact, during his days on the road with Michael Jackson.”

Kite describes Usher’s latest tour as “pretty straight forward” having worked with his touring crew before. “It’s always a pleasure to deal with Harold. He is very laid back and takes everything in his stride, so there’s no drama on his tours. As a result, this tour was problem and stress free.”

In total, EST provided 17 trucks in the UK and Europe, handled by Lead Driver, Mick Levene.

For ensuring the crew got to each venue safely, it was down to Austria’s Beat The Street, which has been the transportation of choice for Usher’s tours during his last few trips to Europe.

“We have a great relationship with Usher’s touring party,” stated Beat The Street’s Joerg Philip. “They’re lovely people to work with.” For the UK and European leg of the UR Experience, Beat The Street provided a Van Hool super high decker T918 Altano, six berth complete with double bed for Usher plus a Viano Mercedes van from its ground transport department which followed the tour in order to take the singer 32

around each city he visited.

The company also provided four Van Hool super high decker T918 Altano (12 berth) for the band, dancers and part of the crew parties.

Additionally, two Setra double decker S431DT 14 berths and two 16 berths were utilised for the remaining members of the production crew.

“It was fun to work with Usher’s new Tour Manager, Vizion Jones and Production Manager Harold Jones, who we already knew from our work with Destiny´s Child and Beyonce. We were very happy to be back with him as a part of the UR Experience,” concluded Philip.

CROWD SAFETY When the R&B sensation hit the road for this world tour, Mojo Barriers was called upon to ensure crowd safety at the US and European tour dates. Mojo Barriers was entrusted with supplying the safety barriers to span and protect all aspects of the stage, including the catwalks.

Working to CAD drawings, Mojo provided 32 Mojo straight barrier sections, two 1.5-metre Mojo doorsets, two Mojo snake gates, eight 45 degree corner sections and two vario corner sections. This varied equipment list allowed production to create a complex configuration, which followed the contours of the stage perfectly.

The US leg of the tour was seated, with the barrier set up adjusted accordingly with Mojo’s US office supplying an additional six heavy duty cable ramps, which can be quickly and easily

positioned to prevent damage to cables.

Stanley Jilesen of Mojo Barriers, commented: “Safety barriers are the only part of your set the fans can touch and are the front-line between a performer and the screaming crowd. Artists are placing an increasing level of importance on ensuring their safety barriers are of the highest standard, and are now carrying these with them to every leg of their tour. This way integrity and trust of equipment can be ensured across every event date.”

To date, Usher is one of the best-selling artists in American music history, having sold over 65 million records worldwide and thanks to help from a great team of suppliers, this tour was yet another huge success. Who knows what the multi-talented performer will deliver on stage next.

TPi Photos: Todd Kaplan and Kelly Murray http://usherworld.com www.livenationentertainment.com http://silent-house.com http://rocklititz.com www.verrents.com http://clairglobal.com/clair-uk www.taittowers.com www.mojobarriers.com www.yourock-weroll.com www.beatthestreet.net www.pyrotekfx.com www.controlfreak.tv www.soundmoves.com

PRODUCTION PROFILE: Snowbombing

THE GREATEST SHOW ON SNOW IT’S A PLACE WHERE SKRILLEX DJS IN AN IGLOO, THE PROGIDY ONCE (ALLEGEDLY) PLAYED SO LOUD THE COWS DIDN’T PRODUCE MILK FOR THREE WEEKS AND PA EQUIPMENT IS FERRIED 2,000M UP A MOUNTAIN VIA CABLE CAR. WELCOME TO BROADWICK LIVE’S SNOWBOMBING - THE GREATEST SHOW ON SNOW, WHICH TPi DISCOVERS, IS FAR FROM THE USUAL RUN-OF-THE-MILL FESTIVAL. Nestled in the foothills of the Austrian Alps, less than an hour’s drive from Innsbruck, is the town of Mayrhofen. The last week of the ski season (6-11 April) sees the town welcome over 7,000 ‘Snowbombers’ who get their kicks on the slopes - and on the dance floor - with a snow-fuelled mix of skiing, boarding and bass-heavy beats from the biggest names in dance music.

Ryan Esson took the reins as Snowbombing’s Production Manager for the second year running, contracted by Manchester-based Ground Control. “Being a working ski town means that there are venues already in place,” he explained, “so we utilise most of these, and then create additional temporary venues.

“This creates a really unusual mix of smaller intimate experiences, combined with largescale outdoor events. It requires a very tight 34

production to coordinate everything efficiently, especially due to the distances between the mountain venues and ground venues.”

With 16 venues in total, spread across two kilometres - and an additional two kilometres in altitude climbs - it’s no easy task. The largest permanent venue (a tennis hall which is converted into a music venue) is the 3,000 capacity Racket Club which this year saw artist Mark Kitchen (MK), Fat Boy Slim and Skrillex take to the stage. A series of smaller venues welcome between 150 and 400 people, and provide the traditional après ski.

But the events that really capture the festival spirit are the 6,000 capacity Mad Hatter-themed Street and Forest Parties, which take place on permanent outdoor stages built in the town.

Basement Jaxx headlined this year’s Street Party, with Rudimental taking the top spot on the

Forest Stage.

Esson continued: “The Forest Stage is a 100-year-old wooden chalet and is surrounded by these little wooden huts which form the bars and FOH. Although we reinforced the stage last year with steel beams, the production you can have in a location like this is nowhere near what you’d expect some of the headliners to perform with. In fact, the Forest Stage’s footprint is probably the same size as the FOH on other festivals.

“The buy-in from artists is the beauty of the town and the uniqueness of the event. There is a long-standing relationship with agents and promoters, with many artists wanting to return year on year. It’s just really special.”

To ensure punters can still enjoy the music whilst skiing and boarding, Snowbombing creates performance spaces at the top of each

PRODUCTION PROFILE: Snowbombing

Opposite: Fat Boy Slim performed at the Racket Club. Below: The festival site lays in the Austrian Alps; Rudimental headlined as part of the festival’s top bill; The Ground Control prodcution crew, led

by Ryan Esson; US DJ Skrillex performed in front of 3,000 revelers.

of the three mountains that surround the town.

“There’s Arctic Disco, which is in an actual, real igloo - Carl Cox was among the DJs who played there this year - then there’s the Mountain Stage which has loads of crazy content, including Mr Motivator,“ laughed Esson. “The Reggae Shack is a reggae venue and then the Board Park is a mixture a DJ-led program and extreme snow sport stunts.”

These venues are part of the Mayrhofen’s existing infrastructure, but the production equipment - PA, branding and staging - is all brought in by Snowbombing. With no road access, all equipment is ferried up via cable car and taken to the venues via ski pallet.

“There is a lot of coordination and careful planning with the local authorities to make sure we can get the equipment up there safely, without interrupting the day-to-day business,” continued Esson. “The authorities are fantastic though. The residents and businesses in Mayrhofen love having us here, as we bring in a lot of additional revenue at a quiet time of year.”

One of the main challenges for Esson and his team is the weather, which ranged from glorious sunshine to -10 degrees, with a blizzard thrown in for good measure. The approach to one of the mountain parties had to be changed

last minute due to an avalanche threat.

Esson said: “When there’s this much unpredictability, contingency and scenario planning is paramount. The Backcountry Party is the prime example. Although we didn’t need to move the venue, the way we managed and structured the event did need to change.

“Bear in mind we send 10 people to manage that event, and it’s so remote that there is no phone or radio signal, so you can imagine the detail in which you need to plan. I’ve never worked on a show where the scheduling and movements of things is so dynamic throughout the show.”

The event works hard to support the local economy - using local suppliers where possible, such as Conrad which supplies additional stage decking and risers. There’s no crew catering company either. Instead, Snowbombing has a long-running partnership with a local restaurant which caters for the 200+ staff.

Esson continued: “We try hard to benefit the local economy as much as possible, but due to a tight budget - and the sheer logistical scale of the production - we utilise our long-standing relationships with other UK and European suppliers too.”

The UK office of Mojo Barriers supplied the

festival’s stage barriers. Mojo’s Kevin Thorborn said: “We provided 90-metres of our standard aluminium stage barrier across the site. The product is ideal for an event like this where you need to be able to quickly and efficiently move the barriers and reconfigure for each of the day’s events. Each section of barrier is easily assembled by one person.”

Mojo also provided 25-metres of bar barrier, an increasingly popular item of stock which enables event organisers to set up temporary bars on any terrain or location.

SOUND, LIGHTS, ACTION! Manchester-based Audile is the sole supplier of sound and lighting, working across all venues.

Rob Ashworth, the company’s Project Manager is a Snowbombing stalwart, with 14 years of expereince under his belt. The festival itself is in its 16th year, with the last 11 spent in Mayrhofen.

He said: “The production team here work incredibly hard. Unlike normal festivals where our crew is onsite for a week at most, with three show days, we’re out at Snowbombing for 13 days with six show days. With all the one-off events there isn’t a day that goes by when a show isn’t being rigged or de-rigged.”

35

PRODUCTION PROFILE: Snowbombing

Below: Richard Bagshaw at the helm of video world; Audile supplied high end technology that needed to last through the harsh realities of the festival’s location; Made Up provided special effects including lasers to the production; Transport and Logistics Manager, Alex Webster; Avolites consoles were utilised throughout the festival’s various venues.

There’s an impressive list of kit across the venues to cope with this ever-changing demand, with Audile choosing a mix of some of the most established brands on the market.

SOUND The Racket Club features the most extensive set up of the indoor venues, with 12 Funktion One Resolution-5 mid / hi speakers, eight F-221P powered subs and two Resolution-2SH infill speakers. Turbosound and d&b audiotechnik were the brands of choice for monitors with d&b V-series side fills and Turbosound TFM-450 wedges. Two Pioneer DJ DJM-900 DJ mixers are the in-house mixers which accommodate the majority of DJs. d&b’s J-Series, C-Series and M-Series are also in location across the Street and Forest parties whilst the Arctic Disco utilised the Q-series. This left the remaining indoor and on-mountain venues to be serviced by Funktion One Resolution-4 and -5 mid / hi speakers with F-218 bass speakers. The extreme environment of Snowbombing requires resilient kit, and both brands have proved themselves in this respect.

Ashworth continued: “We’ve had bass bins completely buried in snow for two days at the Arctic Disco. But then the other extreme is the pool party, where artists are playing in humid 40⁰ heat. There really is no other event like it and the kit we choose reflects this. It’s the best 36

kit available that we know can stand up to the various environments.”

LIGHT Clay Paky Sharpy moving lights featured prominently, installed at The Racket Club and Street and Forest parties. Stormy CC LED strobes are a new addition to Audile’s stock, put straight to use on the Street and Forest Parties. There’s a huge mix of manufacturers elsewhere on the Racket Club’s house rig, comprising everything from Martin Professional MAC 700’s to Robe Robin 600 and 100 LEDs, and Showtech Active DMX Sunstrips. Control-wise the house desk was a Chamsys Magic Q Pro 100, augmented by an MA Lighting grandMA2 full size control desk with grandMA2 Light for backup during Skrillex’s appearance.

Fat Boy Slim’s performance saw the addition of an Avolites Tiger Touch II and Fader Wing, controlled by Stephen Abbiss. “I always use an Avolites for Fat Boy Slim shows,” he noted. “The shows are so hands on; I need a desk with great live access. We’ve got set looks for set songs which we try to do on the fly. It was a bit more free-reign than normal. Norm [Cook, AKA Fat Boy Slim] threw in a whole load of new songs, which meant I could be creative.”

Abbiss, who also owns a Titan Mobile, which he uses for smaller shows and pre-programming was quick to praise the functionality of the

updates to the cue stacking in Titan. “It works nicely,” he said. “Fixture exchange is further improved too” Outdoor shows on the Forest and Street Party stages featured drum and bass quartet Rudimental, Basement Jaxx and 2manydjs. For these events Colm Whaley operated an Avolites Expert Pro as the house desk.

Other Avolites equipment used on the festival included an Expert Pro on the Bruck & Stadl stage, operated by Jonathan Godsmark; a Tiger Touch and Mobile Wing on the Europahaus stage with Chris Sirey and Tim Hawes, and a Pearl Tiger at the Back Country Party, operated by Tim Hawes.

Given the festival’s high-altitude location, they had to put up with the extremes of the alpine winter. Audile owner Bob Leach enthused: “The consoles coped well with the extreme weather out there,” said Leach. “It was very cold with lots of heavy snow early on.

It’s great that they can survive those sorts of conditions.”

Ashworth continued: “We have a really diverse range of equipment because - with so many de-rigs and kit movements - it needs to be flexible to meet the needs of every artist and venue. Artists are always really happy with the production, although sometimes in advance for the on-mountain venues we’ll get an artist querying why their full tech rider can’t be

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PRODUCTION PROFILE: Snowbombing

Below: Rhodri Shaw of Video Design; Audile’s Rob Ashworth; Kevin Thorborn of Mojo Barriers.

supplied.

“That’s when you have to say, ‘You’re playing in an actual igloo made out of ice on top of a mountain, and everything has to be brought up 2,000-metres up in a cable car then moved by a snowcat’. They understand then, and when they get out to the show they really enjoy the uniqueness of it all.”

SPECIAL EFFECTS Heading to the mountains for the first time was Bermondsey-based Made Up, managing the SFX and laser installation at the Racket Club.

Ben Annibal held the role of laser and special effects tech, backed up by James Draxler as laser operator.

The company brought across one truck of equipment including two 18W RGB lasers controlled by Beyond, and 10 BeamNet lasers, all controlled from a Chamsys MQ60 desk, part of a new generation of small, lightweight consoles specifically designed for travelling lighting designers. Four CO2 jets completed the set up.

Annibal said: “We’ve specified to what Ryan (Esson) needed, but the whole idea is that we have a set-up which we can use to create a different look and feel each night for the

38

different artists. We meet with the video and lighting guys each day, along with the visiting production teams to come up with the creative design and programme in any colours or requests they might have.

“The kit has been chosen to allow this flexibility, such as the BeamNets, which give a really different look as they are single beam lasers. With them, we can do really nice chases and have a bit more creative freedom.”

Made Up looks after the touring production for DJ and producer Andy C, who performed on the Sunday night. Annibal and Draxler built a pyramid using laser arrays and pixel tape, recreating his on-tour aesthetic.

“It was a nice coincidence that Andy was playing here, as we were able to bring across his touring kit and create something that made him stand out,” concluded Annibal. “Once he’d performed we took his set and repositioned everything to suit the needs for the rest of the week.”

VIDEO SCREENS Another newbie to the Snowbombing scene was Video Design, contracted by production to provide the screens across the Racket Club and Arena venues. Rhodri Shaw led the installation

of 72 Panels of WinVision Air 9 : 9mm LED at the Racket Club and 14 Panels of WinVision Air 9 : 9mm LED for the Arena.

The Arena LED compromised of a 4.2-metres by 2.4-metres ground stacked split screen whilst at the Racket Club, the 72 LED panels were split into nine columns behind the back of the main stage and 20 LED strips - or pods - hung from the venue’s roof, above the crowd. Both venues were controlled via WinVision 2012 HD processors.

Shaw commented: “Rob Leach at Audile came to us with the design, and we sourced the right equipment for the job. The main thing was that it needed to be incredibly lightweight.

The WinVision Air 9 is perfect, as it weighs just 6.8Kg per panel.”

Richard Bagshaw of Digital Insanity led the content and programming for the screens, controlling the Racket Club as one canvass.

“A lot of it is stock motion graphics from our library,” he explained. “But some content has been provided by the artists. It’s generally very laid back and we have a lot of creative freedom each night. I’d say it’s a 70 / 30 split of freeform and then artists dictate the rest.

“We’re mainly using lots of geometric patterns and shapes, re-coloured in real-time

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PRODUCTION PROFILE: Snowbombing

Below: The equipment was moved by cable car up the mountainside; Serge Grimaux of Intellitix; Tamas Szabo and Aron Fonyedi of Intellitix ensured the site’s antennas were in good working order; Bassment Jaxx casually crowdsurfed through the fun; Sigma pleased crowds with the help of a smooth production.

to match the lighting. The video screen content isn’t really something you’re meant to stand and watch, it’s more about creating ambience which fits the genre of music and the style of the event. Having such a fragmented array really makes its lots of fun to operate, when you can’t work out where lighting stops and video starts - for me that really makes it special. It’s great to be back at Snowbombing,” he said.

The playback system was a Green Hippo Hippotizer HD media server, stable and so flexible it makes operating and mapping such an screen setup a pleasure, with the added bonus of having mudvu2 (our own propriety software) feeding real-time visual analysis of the DJ’s audio output into the DVI capture of the Hippo. It really adds another dimension to the show.

CASHLESS PAYMENT A significant change for the event this year was the introduction of cashless payments across all of the main venues; Europahaus, Bruck ‘N Stadl, The Racket Club and the Street Party and Forest Parties.

Organisers Broadwick Live entrusted the complex job to cashless payment and access control specialist Intellitix. The company supplies some of the most well-known events in the business from TomorrowWorld to Coachella, and Snowbombing marked a noteworthy step in the company’s integration into the European and UK markets.

40

The onsite team was led by Intellitix’s Carl Martin and Barna Jardany, installing 160 cashless point-of-sale terminals, 40 top up stations and 15 access points which was supported by 32 handheld scanners and eight swap stations.

Serge Grimaux, CEO at Intellitix, said: “Snowbombing isn’t your usual greenfield festival site; it takes place across various venues in a busy working town, so we needed to take a completely different approach to setting up our system. Typically we would use cables, but this wasn’t possible, as you simply can’t cable across a working town like that.

“Instead, to ensure 100% signal coverage across the entire site we positioned an RFID antenna 1,250-metres above Mayrhofen. This gave a faultless signal reach spanning a massive radius, which powered the cashless and access system below.

“This was a very unusual deployment and worked faultlessly, despite the ever-changing weather. Not only did we setup and maintain the performance of the permanent venues, parallel to this we continuously built and took down one-night temporary venues such as the Street Party and The Forest Party. There were events around the clock.”

Commenting on the introduction of the new technology at Snowbombing, Broadwick Live Director, Alexander Bennett, said: “The location was a challenge, but Intellitix provided fantastic support. The pre-loaded top-up levels

from customers were better than expected, as was the ease with which customers took to the technology.

“The data we have gathered from this is also incredible, and now that we have tried the system once, I don’t foresee us not using it again at Snowbombing. In fact, we’re now keen to develop this further, as well as looking to roll it out at other Broadwick Live events.”

For Intellitix it’s a further step in showcasing the robustness of the system, within Grimaux concluding: “Snowbombing is proof that cashless and access systems can work in even the most unusual of locations. The fact that we can go from the blizzards of Snowbombing to the dessert of Coachella, definitely showcases the system’s integrity.”

As well as the significant benefits that going cashless brought the event, the access control aspect gave additional real-time information to production. Ryan Esson commented: “The RFID has been really useful as it allows us to track the movements of people and target our resources appropriately, such as security personnel. One of the key things we do throughout the week is to encourage audience movement around the town through drinks offers and happy hours. That’s how we manage the flow of 7,000 people.”

Logistics is one area that requires careful attention to detail and Esson restructured the team this year, separating out transport from

PRODUCTION PROFILE: Snowbombing

Below: The festival’s weird and wonderful venues included a 100 year old log chalet.

production with the appointment of Alex Webster as Transport and Logistics Manager. Webster, of newly-launched Event Trucking Services, ensures all equipment arrives safely from the UK, and keeps a close-eye on on-site logistics. To ensure clearer communications across the vast site. Webster also introduced a new radio system, with coded names.

Esson is backed up with the capable hands of Event Manager Charlotte Denton, managing security deployment and local authority liaison alongside event control operations and Technical Assistant, Dom Morris. With a team of over 200 production personnel and event staff on site, one thing is clear; that despite the undeniably long working hours and heavy workload, people love working this event.

Audile’s Ashworth said: “I can’t think of any other show that is so punishing, but most of the crew keep coming back year-after-year. There’s a few reasons for this; firstly there’s great camaraderie among the crew, who approach the job in hand with a huge amount of energy and good humour.

“Secondly, Mayrhofen is a beautiful

place to work - the views are stunning, the air is fresh and when it’s not freakishly dumping with snow, the weather matches of any UK summer festival.”

Esson agreed, and takes the final word: “It’s one of the most stunning environments - aside from the sometimes drunk punters! - the mountains offer some of the most breathtaking views imaginable. I really love working with the local people; we have a really strong relationship with them and they are of paramount importance to the delivery of the event. It’s also the first festival of the season and it makes a lot of decisions for me about who our team will be on other shows throughout the year.”

TPi Photos: Danny North, Andrerw Whitton, Jenna Foxton, Gobinder Jhitta, Richard Johnson and Brooke Nolan www.snowbombing.com http://groundcontroluk.com www.audile.co.uk www.digitalinsanity.co.uk www.intellitix.com www.mojobarriers.com www.madeupltd.com

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EXPO: Prolight+Sound

PROLIGHT+SOUND 2015 TEAM TPi WAS OUT IN FORCE AGAIN AT THIS YEAR’S PROLIGHT+SOUND SHOW HELD IN FRANKFURT, GERMANY. IT PROVIDED 108,000 ATTENDEES FROM 146 COUNTRIES WITH A COMPREHENSIVE RUNDOWN OF THE AV INDUSTRY. AS EXHIBITORS AND GUESTS ALIKE BUSTLED THROUGH THE CROWDED HALLS AND CONCOURSES OF THE MESSE, TPi’S EDITORIAL TEAM DESCENDED ON THE SHOW, NAVIGATING FROM BOOTH TO BOOTH - DUTIFULLY IGNORING ONE GERMAN DELICACY AFTER ANOTHER - TO BRING YOU ALL THE LATEST PRODUCT NEWS AND APPOINTMENTS, FRESH FROM THE INDUSTRY’S LARGEST LAUNCH PLATFORM. As April rolled around again, Mondiale Publishing took a collective deep breath, bracing ourselves for what promised to be a whistle-stop tour of the industry’s most innovative companies. Surpassing expectations for the seasoned veterans amongst us - Prolight+Sound also provided the newbies in the TPi camp with a characteristically warm introduction to the industry.

Never short of something to write about - not least of all in Frankfurt - TPi has provided in-depth analysis of one of industry calendar’s most exciting shows.

Absen showcased its latest range of 4K LED displays for rental and fixed installation, including the X3, X5, F8 and A1.9 LED panels.

The X3 includes 3.125mm pixel pitch, which ensures ease of assembly and maintenance.

The X5 harnesses Absen’s cable-less modular panel system. The F8 is a flexible LED panel designed for the rental staging market. The A1.9 is an ultra-lightweight 1.9mm indoor LED panel utilises Absen’s unique panel locking system to 42

enable ease and speed of assembly.

A.C. Entertainment Technologies, showcased its latest solutions - including entertainment and broadcast LED solutions from Chroma-Q, the Jands Vista lighting and media control solutions range and the Jands Stage CL lighting console, and the very latest solutions from the extensive Prolight and Spotlight entertainment lighting ranges. Also featured were AC-ET’s in-house Cable Express and Gel Express custom assembly services.

Adamson showcased its S-Series line array range, a new sub-compact line array system, consisting of the S10 line array enclosure, S119 subwoofer and the Blueprint AV and the E-rack; Adamson’s new unified rack solution.

The S10 is a sub-compact line array enclosure ideal for mid-size arenas, theatres and outdoor festivals. It is loaded with two 10-inch ND10LM Kevlar Neodymium low frequency drivers and an NH4TA2 1.5-inch exit high frequency compression driver mounted to a wave shaping sound chamber which produces a slightly curved wavefront with a nominal dispersion

pattern of 110° by 10°.

ADJ continued its celebration of 30 Years of Pure Lighting Excitement by demonstrating three innovative new products. Visitors to the ADJ stand saw the Kaos centrepiece style LED, Vizi Beam 5RX moving head fixture and AV6 LED video wall in action.

AIRSCREEN showcased two state-of-theart mobile cinema solutions: the AIRSCREEN classic model with a screen size of 12 by six metres, inflated by a ‘no-noise’ blower and the brand new airtight AIRSCREEN nano screen size measuring three by 1.70 metres, which represents the smallest and fastest mobile cinema experience of its kind.

Harman’s AKG introduced the C314 dualdiaphragm condenser microphone. Ideal for all studio environments ranging from home to professional studios, the C314 offers a flat, high linear frequency response and neutral sound, making it the perfect recording microphone for a variety of environments. Also on display was the company’s new D112 MKII kick drum microphone, the successor to the company’s

EXPO: Prolight+Sound

Opposite: The exterior of Messe Frankfurt - home to the Prolight+Sound show. Below: TC Group’s Andy Rust, Lab.gruppen’s Martin Andersson, Adlib’s Tony Szabo and TC Group’s Sarah Jane Thomson; A.C. Entertainment Technologies showcased LED solutions from its Chroma-Q and Jands Vista lighting & media control solutions range; The Adamson team; PRG’s Live Entertainment Awards were another success.

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Alcons Audio showcased its LR28 largerformat line array, which features a proprietary RBN1404rsr 14 pro-ribbon driver, quad 6.5-inch and double customised 14-inch subwoofers.

The LR28 also offers more clarity, imaging and throw, with up to 90% less distortion.

Allen & Heath showcased the Xone:43, a classic 4 + 1 channel analogue DJ mixer with a host of enhanced features, including the legendary Xone filters, X:FX routing, three-band EQ, VCA faders, and adjustable crossfader.

Amptown Cases presented its new AiR Flightcase - a lightweight flightcase series made of a polypropylene honeycomb material, which reduces the average weight of a flightcase by up to 30%. Amptown Cases International Sales Director, Oliver Wupper commented: “Prolight+Sound has been a great experience for the company and a lot of visitors have shown a keen interest in the new AiR series flightcases.”

ArKaos presented the latest version of its highly successful professional MediaMaster software, the MediaMaster 4.2, which adds an integrated cue player and 4K support to the many tools already offered by the software.

Artistic Licence products made an

appearance on Soundlight stand. Recently appointed as an official distributor of Artistic Licence products, Soundlight commented: “Artistic Licence is well known for its outstanding quality and technical expertise. We are excited about the opportunity to combine the most sophisticated UK products with our extensive product line to offer our customers the most reliable DMX control ever.”

Audio-Technica unveiled its new BP40 large-diaphragm dynamic microphone and its AT2020USBi USB condenser microphone, which now features iOS compatibility.

Avid showcased an expanded AAX live sound plug-in platform for the Avid S3L system.

Avid S3L users can now choose from a wide range of Avid plug-ins, as well as those of some of the world’s most respected developers, including Crane Song, McDSP and Sonnox.

Avolites showcased the live control-focused Arena console, which combines the interface of the Tiger Touch II with 30 additional playback faders and expanded live control options.

The Arena is the ideal console for festivals, theatres and anywhere where a larger control surface is required. Avolites’ Sales Director, Koy Neminathan commented: “The Arena consoles attracted a huge amount of attention during Prolight+Sound. We were inundated with lighting designers, rental companies and

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EXPO: Prolight+Sound

Below: Amptown System Company’s Managing Director Leif Witte with Head of Marketing Dierk Elwart; Fifth Estate Content Producer, Anna-Louise Fairtlough with Creative Director, Sarah RushtonRead; Avolites Sales Director Koy Neminathan with MD Steve Warren; Davide Barbetta, Marketing Production Manager for Clay Paky; Avid showcased an expanded AAX live sound plug-in platform for its S3L system; The Barco team.

specifiers. The console generated a fantastic response from many of the people who came by our stand.”

Ayrton launched seven new products, adding three fixtures to its Creative Solutions line, two to its Imaging Displays portfolio and a further two to its Automated Luminaires range. Ayrton revealed a new technology that combines the first 94mm diameter narrow beam angle collimator with the latest generation high-power Osram multichip LED. Together these two elements create tighter beams with an unrivalled centre beam intensity, which Ayrton has incorporated into three new Creative Solutions fixtures: MagicDot-R, CosmoPix-R and VersaPix-RS. Barco announced the addition of a new entry-level model to its series of all-in-one video scalers, scan converters and switchers. Building on the renowned ImagePRO and ImagePROII presentation switchers, the brand-new ImagePRO-II Jr combines high-performance scaling with low total cost of ownership and is perfect for basic applications. Additionally, the company introduced a new range of highresolution indoor LED video walls. With a pixel pitch of only 1.6mm, 1.9mm, and 2.7mm, the X Series couples the benefits of LED visualisation with exceptionally high resolution. beyerdynamic added a new model, 44

designed for use in professional recording studio environments, to its successful Custom headphone series. The Custom Studio headphones have a closed design with dynamic 45mm transducers, whose outstanding sound quality meets the highest industry standards.

Additionally, the company presented the MCE 85, a new capacitor shotgun microphone. The microphone is available in two designs: The MCE 85 PV is intended for operation with 11 to 52 volt phantom power, whilst the MCE 85 BA model can also be operated using a 1.5 V battery.

B&K Braun announced the release of the LEDium X-R5, one of the highest resolution LED systems for outdoor lighting on the market.

The three-in-one SMD RGB LEDs, which have been specifically developed for the X5, are arranged with a pixel pitch of only 5.2mm, and provide a contrast ratio of 3000 : 1 along with a brightness of 5000 nits. Each panel has a resolution of 96 by 108 pixels, which makes it possible to display exactly 1920 by 1080 pixels using 20 by 10 modules.

Bose showcased its F1 Model 812, the company’s first powered portable loudspeaker that allows users to control its vertical coverage pattern. Designed to serve an even broader set of applications than L1 systems, the F1 Model 812 lets users optimise sound by creating up to

four different vertical coverage patterns.

Briteq showcased the first fixture in a new series of professional lights; the BTX-Titan, a beam, spot and wash all in one unit. The unit’s superior optics, combined with the Osram Sirius HRI280 lamp guarantees an extremely high light output of 86650 lux at 20 metres. The fixture is equipped with advanced and innovative features including a 7° - 11° beam, a 5° - 23° spot and a wash.

Cadac launched its brand new CDC six digital live sound production console on its booth, on the opening day of the show. The CDC six represents a further development of its advanced gesture-operation user interface.

ChainMaster celebrated its 20th anniversary at Prolight+Sound. For the past 20 years, the company has made it possible to move loads, both light and heavy, without effort, and position them with pinpoint accuracy - all thanks to the German engineering expertise of ChainMaster Bühnentechnik of Eilenburg.

Chauvet Professional showcased the Ovation ED-190WW ellipsoidal and the Ovation FD-165WW Fresnel Wash, both featuring technology that allows them to be controlled

by DMX or by traditional dimming systems, so that they can work with the dimmable incandescent fixtures already on an existing rig. Also showcased were the latest products

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EXPO: Prolight+Sound

Below: Audio-Technica Marketing Manager, Tom Harold with Marketing Coordinator, Adam Archer; Daniel Imiola and Oliver Braun from B&K Braun; The Chainmaster team.

from Chauvet Professional’s VIP series of LED video panels the C6: PVP X3 and PVP X6IP; the palm-sized COLORdash Accent Quad fixture that excels at delivering saturated colours and brilliant pastels with a soft, even glow.

Clay Paky introduced the brand new Scenius, a moving head spotlight at the top of the Clay Paky range. Its advanced optical unit and the new 1400W OSRAM discharge lamp provide a much higher light output than with previous generation 1500W lamps. Clay Paky also introduced the Spheriscan, a scanner with a modern twist, which leverages the huge technological developments of recent years to reinvent the scanner and make it future-ready.

Both the Scenius and the SpheriscanISCAN, were used to create an extremely successful multimedia show.

Clear-Com showcased its latest advancements in intercoms and IP connectivity, including the highly popular FreeSpeak II digital wireless intercom system, the LQ Series linking family, and new capabilities in Eclipse HX digital matrix intercom systems.

Coda Audio announced several significant new products, including the new AiRAY threeway, full-range line array system. AiRAY delivers

exceptional output and intelligibility, at half the size, weight and transport dimensions of conventional two by 12-inch systems. Also on show was the High Output Point Source HOPS8, a passive two-way system with outstanding output-to-size ratio and 100° by 100° coverage.

Columbus McKinnon launched its new 2T single fall hoist RRS, during an successful exhibition that also featured the double reeved Prostar, which lifted an impressive 452Kg on two falls, while still keeping the same small Prostar body.

The Confetti Maker, the manufacturer of biodegradable, colourfast and fireproof confetti and special effects machines, were out in force at Prolight+Sound, exhibiting many of its latest FX machines, including CO2 JET, Confetti GUN, E-Shot, Confetti Booster CO2 LED, Stadium Cannons CO2 Gun and more.

CT Group emphasised the launch of its new website, which has been designed with international usability in mind. Available in multiple languages, the site details the company’s extensive product range, as well as the extensive services CT provides.

Crown by Harman introduced the XLS DriveCore 2 Series of two-channel power

Studio Quality, Live.

amplifiers, which offer a host of upgraded features including flexible DSP band pass filtering, selectable input sensitivity, remote sleep mode trigger and sleek new styling. Four new XLS DriveCore 2 models are available including the XLS 2502, XLS 2002, XLS 1502 and XLS 1002, with power ratings from 350 to 775W per channel at 4 ohms and 1100 to 2400W at 4 ohms bridged. d3 Technologies displayed an exciting new solution for its flagship d3 4 x 4pro media server when it unveiled the first Video Format Conversion (VFC) quad DVI output card. The quad DVI VFC cards enable users to drive up to 16 DVI outputs (1080p, 60Hz) from a single 4 x 4pro system, allowing large, multi-projector shows to be delivered with fewer machines and no downstream splitter devices, which drastically reduces cost, rack space, set-up time and complexity.

Dataton showcased its new Watchout 6 software, which adds advanced projection mapping, pre-visualisation and uncompressed video playback new 3D features, vastly improving workflow for 3D productions. 3D models can be dragged straight into a Watchout show - version 6 reads common 3D file formats

Studio grade remote controlled mic pres in a modular stage rack, featuring Dante, MADI, AES3 and Pro Tools|HD connectivity.

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46

+44 (0) 1494 462 246

Welcome to the future.

“I like to embrace new technology, and Anya is something quite clever – almost a smart PA. I’ve had a ton of calls from my peers in the industry asking me about it, and I do think it’s the next thing.”

Jim Ebdon

FOH Engineer, Maroon 5

The future doesn’t wait for you. Curved line arrays replaced trap box clusters, and now ADAPTive™, straight-hung, digitally-controlled arrays have arrived. Here, in the future.

A typical 3-column Anya™ array is a super compact 7 ft wide x 6.5 ft deep (2.13m x 1.9m) with incredible output and fidelity. And because it hangs straight, no box-to-box fussing is required so it flies faster than anything.

Vertical coverage is controlled digitally and can be changed on the fly, so when things change, all you need to move is a mouse. Perfectly match any three-dimensional coverage requirement and optimally cover the audience while minimizing the room. Simple.

Is an ADAPTive™ System in your future? Find out at eaw.com/products/adaptive.

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EXPO: Prolight+Sound

Below: Nicki Fisher, Director of Sales at Clear-Com; Coda Audio introduced its new AiRAY three-way, full-range line array system; Tom Hobman, Sales Support at Columbus McKinnon; The Confetti Maker team; The d&b audiotechnik team; Hazebase’s Uta Raabe; DPA Marketing Manager, Anne Berggrein.

such as 3DS, OBJ and Collada. In Watchout, you can texture 3D mesh areas independently with video, images or compositions for maximum creative effect. d&b audiotechnik showcased two new products at Frankfurt, the D20, the latest addition to the company’s four-channel amplifier family, and the MAX2, a flexible 15inch stage monitor. The software update is a new ArrayCalc feature for d&b line arrays. dbx by Harman announced the introduction of the PowerRack8 power supply for its new 500 Series processors. The PowerRack8 is an 8-slot, 19-inch rack-mount power source designed to hold up to eight 500 Series processors in a vertical configuration, which provides eight slots of balanced XLR inputs and outputs along with eight slots of unbalanced 1 / 4-inch inputs and outputs. A 48V phantom power switch is located on the front panel, along with switches for the unit’s flexible, digitally controlled on-board signal routing with memory function. The PowerRack8 supplies 350mA per module slot and features rugged, all-metal construction.

DiGiCo showcased its new S21 digital console at this year’s PL+S. DiGiCo’s Managing Director, James Gordon commented: “With the S21, we wanted to re-write the rulebook. To test the conclusions we previewed at Prolight+Sound without publishing or unlocking the full software potential, or even the intended release specifications.” This different approach makes sense when you take on-board that the core of S21 is DiGiCo’s Stealth Digital Processing. This 48

FPGA based technology is the key that unlocks the flexibility that the R&D designers need to specify and deliver the ultimate console.

DPA Microphones showcased a wide array of products including established models such as the d:vote 4099 Instrument Microphone and the d:facto Vocal Microphone. A re-launch of the d:facto range also included a new d:facto microphone.

Doughty Engineering debuted its Modular Rigging System at this year’s show. Doughty Sales Director, Julian Chiverton commented: “When we came to Frankfurt in 2014, our Modular Rigging System was still just a prototype so it was great to bring it back this year as an award winning product. Our European customers were extremely excited to see the Drop Arms and H Frames on display and we continue to be amazed by the new and exciting ways that our customers envisage putting the items to use.”

DuraTruss showcased a new white truss column with baseplate optimised for DJ use.

Easy to lift yet solid and stable, the powdercoated truss column is exceptionally strong for years of reliable use. DuraTruss also showed a small, smart plastic protection ring to safeguard truss from scratches, a discreet solution that is less expensive than other truss protection tools on the market.

EAW exhibited its Anya and Otto systems in Festhalle at the Frankfurt Messe. EAW’s Adaptive Systems were also showcased during the company’s demonstrations, which occurred twice per hour. EAW also launched the

REDLINE, a new series of loudspeakers, which leverage a variety of EAW core technologies and design principles, to provide premium performance and a focused feature set.

Elation Professional showcased its Platinum WFX wash effects luminaire with full range zoom, as well as the hybrid Platinum FLX, a powerful spot, beam and wash fixture with 470W Platinum 20R lamp and CMY colour mixing. Other Xtreme series luminaires on display included the hybrid Platinum SBX threein-one luminaire and powerful Platinum BX beam fixture. It was also the premiere of the Colour Chorus, a new series of LED batten wash lights available in three metre, six metre, 1.2 metre and 1.8 metre lengths.

Eilon Engineering showcased its high performance Ron StageMaster load monitoring systems, featuring impressive battery life, long transmission range and an unlimited number of load cells. The company also debuted its new wireless hoist integrated shackle pin load cell, as well as its custom fitted flight cases.

Electro-Voice introduced its new EKX portable loudspeakers, the latest addition to the EV portable sound range. EKX is ideal for musicians, DJs, and live / club / installed sound applications, and is engineered to deliver maximum sonic impact in a compact package. EKX also offers EV-exclusive features including single-knob QuickSmartDSP digital signal processing control, signal synchronised transducers (SST) waveguide design, and cardioid control technology for subwoofers.

ETC Lighting boasted its biggest stand

Worldwide leader in event engineered support structures. the brands we drive

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EXPO: Prolight+Sound

space ever, where visitors were given an exclusive preview of the Eos console family software version 2.3, which is due for release this summer and adds a number of new options for controlling colour. Cobalt software, which is also due for release later this year, was also available to preview. The fixtures area, meanwhile, was busy with demonstrations throughout the day, as visitors queued for a first look at the new Source Four LED Fresnel adapter, which can be attached to a Source Four LED Series 2 or Series 1 light engine.

Eurotruss displayed its four main product groups: structures, stages, lifters and stage decks. Structures included the company’s standard truss series, as well as its upgraded Pre Rig Truss (PRT), the spectacular new Ladder Beam truss HD22 and the reinforced Mega Truss Series TTU and TTS. Next to that was the brandnew Eurotruss Lifters range, as well as the new Tunnel Roof series and the PR15 Monster Roof.

FBT introduced its sleekly design AX Series of power amplifiers, which consists of four 2HU rack mount models, from 800 to 3000W, all designed with sophisticated power amp circuits for improved quality, stability and reliability, all equipped with Stereo-Parallel-Bridge operation mode, dB sensitivity switch (26-29-32dB), limiter, ground lift, XLR / Jack inputs (plus extra RCA input on AX800), Speakon / Binding posts outputs. Additionally, the company introduced

the Mitus 118FSA and FSCA - cardioid arrayable and flyable subwoofers.

FENIX Stage reported a great response to its products, especially its brand new Ground Support TRC Series, whose assembly demonstration, capable of lifting a maximum of 600Kg up to seven metres high, caused great excitement. Its design allows the tower to be installed by a single person and is extremely easy to use thanks to the robust double crank winch.

Focusrite showcased the new redundancyarmed RedNet range, as well as its existing lineup at this year’s show. The RedNet MP8R, RedNet D16R, RedNet HD32R and RedNet D64R all feature redundant power supplies, primary and secondary etherCON connections and occupy a single rack space.

PL+S helped to generate interest in Framelock Barriers and its product range, from potential distribution networks, resellers and event production companies from across the UK, Spain, France, Italy, Germany, Denmark, Finland, Estonia, Russia, Northern and Central Africa and USA. The company’s participation in the show reinforced the quality of its products as well as its competitive price point. The systems on display included the FL01-AL (autolocking system) - a highly cost effective system with a fast and effective set up and dismantle time.

Funktion One showcased its new series of high intensity loudspeakers - the Evolution Series, which is centred around the Evo 6 and Evo 7 enclosures. Both products are fully horn-loaded with 15-inch mid-bass, 10-inch Funktion One signature midrange and a 1.4-inch compression driver solely for high frequencies above 4kHz. The Evo 7 has a 30° horizontal dispersion angle and very high efficiency, so just three wide gives 90° horizontal coverage for crowd sizes up to around 2,500 people.

At Musikmesse 2015, Gibson Pro Audio unveiled its Gibson Les Paul Reference Monitors, to the European pro audio market. With a novel approach to sound design, the monitors - available in four, six and eight-inch models represent the next-level of performance and exude high-quality sound, which makes them suitable for either professional referencing or personal playback.

GLP showcased the impression X4 Bar 10 and impression X4 Bar 20 fixtures, as well as the fully pixel mapped impression X4 L, and the new impression X1 for the first time anywhere in the world. The X1 features four high-powered 15W RGBW LEDs in a compact housing, which features continuous pan and tilt motion. The impression X4 L offers a full package of a pixel mapping features with front beam rotation. The LED luminaire also boasts a fast 7:1 zoom range, wide colour pallet and high output from its 37

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EXPO: Prolight+Sound

Below: The team from Eurotruss; Funktion One’s Ann Andrews; GLP US President Mark Ravenhill.

LED sources which are each rated at 15W and feature RGBW colour technology.

Green Hippo showcased the Taiga and Boreal media servers, which feature six unlimited DVI or DisplayPort outputs. The Taiga can drive at least 3 by 4K displays at full frame rate, whilst the Hippotizer Boreal is designed for the rigours of life on the road with four DVI or HD-SDI outputs.

GUIL Engineering commented on its performance at PL+S: “We are very pleased with the response at the show this year, as companies are becoming more and more aware of the importance of the quality of support products such as ours. At GUIL our number one priority is to manufacture sturdy, durable products that meet the strictest safety standards. This year we saw an increase in visitors from a diverse range of countries, confirming that Prolight+Sound continues to be the pioneer show for our industry, that offers an increased number of international promotional opportunities. We look forward to the positive changes that Prolight+Sound will make for next year’s show.”

Hazebase introduced the base.low.pro, the company’s latest low-Co2 fogger, designed to create low lying fog in conjunction with either the base.classic or base.high.power foggers.

Featuring dense, low-lying fog, automatic and

user defined programs, which are controllable through DMX, Art-Net or analogue, the base. low.pro is an impressive addition to Hazebase’s fogger range.

High End Systems announced the launch of the SolaWash Pro 1500, the brightest in a line of bright, white light LED products. With an output approaching 30,000 lumens from a 600W LED source, the SolaWash Pro 1500 comes packed with CMY, Variable CTO, two fixed colour wheels, Framing and a 9 to 55° zoom range.

HK Audio unveiled numerous sound reinforcement solutions, including two key rack packages, which provide unified amping system solutions for a variety of HK Audio’s passive loudspeaker ranges - including Linear 5, ConTour, ConTour Array and Premium PR:O. IDEA Pro Audio introduced its Active LineArray EVO20 and some of the new products that will be launched this year. IDEA Pro Audio commented: “At Frankfurt we had the pleasure to meet some old friends, as well as some new ones. It was a tremendous experience and we’re looking forward to seeing everyone again next year!”

InEar showcased the new StageDiver 4 model of its special ergonomic universal-fit in-ear monitor series. StageDiver is a high-end product, handcrafted in Germany, constructed with a special shell-design, which fits into nearly

every ear.

IPix showcased the Db1 screen beam, a new hybrid video and lighting projector that harnesses i-Pix LVVP technology. LVVP unites two distinct elements of visual technology: The power of a soft edged wash light, driven by both DMX and video inputs.

JB Lighting launched the Varyscan P4 its latest spot that features a perfect beam and spot, as well as great serviceability and size. Due to its comprehensive effect unit, compact housing and low weight, as well as an extraordinarily high light output, the P4 is suited for all stage sizes.

Harman’s JBL Professional announced the release of its Version 5 preset support for the Vertec DrivePack DP-DA input module for all full-size, mid-size and compact powered Vertec and subwoofers. Bringing together V5 DSP technology and the DP-DA input module, this new update guarantees superior horizontal coverage, refined tonal balance, and pristine sound quality through the use of sophisticated multi-stage limiting and phase linearisation.

As well as showcasing a number of new products and fabrics J&C Joel launched its latest catalogue, alongside a fresh new look for its website, which features a number of technical enhancements to help customers.

James Wheelwright, Group CEO at J&C Joel

It’s what you do with it that counts. www.d3technologies.com

51

EXPO: Prolight+Sound

Below: The team from FENIX Stage; Gibson Pro Audio’s Evan Mackenzie with Senior Manager of Loudspeaker Systems, Craig Hockenberry; The Harman Professional stand; The J&C Joel team; K-array Marketing Communications Specialist Margaux Asteghene with Marketing Communication Manager, Andrea Torelli; Steve Hamann, Marketing at Kling & Freitag.

commented: “Our business has expanded significantly in recent years and we are operating on a global scale now with offices in the UK, Netherlands, South Africa, Middle East, Macau and Hong Kong. But we are very proud of our heritage as well and we will be celebrating that, alongside our more recent achievements.”

K-array showcased the new KR802 selfpowered stereo system, which features a pair of the newly launched Kayman mid-hi line array elements matched to the double 18-inch powered KMT218 Subwoofer. In addition, the company presented the self powered, digitally steerable KH7, which brings with it all the advanced technology that has enlightened the touring market so far with the Firenze Series and presents an alternative line array option in a more compact form; measuring just two thirds the size of a KH8 element and delivering an exceptional peak output of 141 dB SPL. Kinesys showcased its Pathfinder system, which is designed specifically for 3D path flying.

The Pathfinder can be used to create multi-

52

dimensional paths with multiple objects moving and being displayed in real time within the 3D user environment. The software application features macros for highly practical, assisted path creation and editing, enabling the quick and easy creation of common movements, as well as ‘auto smoothing’ paths.

Kling & Freitag showcased the VIDA, a scalable, controllable and full-range-compatible line array system. Up to eight of these onemetre modules can be connected to the integrated mechanics. Three different speaker paths are used in the VIDA L, which is equipped with 48 DSP channels and 48 class D power amps. Here, the six by 6.5-inch driver, 12 by 3.5-inch driver and 32 individually controlled one-inch dome tweeters are arranged coaxially on a Waveguide in a slim aluminium body.

KLOTZ introduced its ConcertLink Analogue Multicore System, complete with built-in preamps that allow an analogue multicore system to be used. Additionally the company showcased a range of active extenders for touring and stage applications, the Titanium

StarQuad Microphone Cable, the Wall Box which is designed for wall mounting and is available in three different heights - as well as the new SmartBeam Connector, which has 12 lenses and is available for multimode or singlemode fibres.

KV2 Audio showcased the VHD5.0 power point source array. The design of VHD5.0 Array ensures that the radiated power of each bandwidth, handled by the various components of the system, is consistent and balanced in relevance to the overall frequency response. This ensures the sound remains the same in every seat in the house.

L-Acoustics announced the launch of its X Series, a new line of coaxial speakers for the installation and rental markets. The three new enclosures in the X Series family represent the most recent engineering innovations at L-Acoustics, and directly benefit from the research and development breakthroughs that led to the launch of K2 last year. The new X Series responds to the demands of the industry’s top sound designers. Improvements include

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EXPO: Prolight+Sound

Below: Klotz Product Manager, René Greil with colleague; KV2 Audio showcased its VHD5.0 power point source array; L-Acoustics International Business Development Director Jochen Frohn with Head of Press and Communications, Mary Beth Henson; The LumenRadio team; Lynx Pro Audio International Sales Manager, Ben Sinclair; MA Lighting Marketing Director, Ansgar von Garrel.

high-excursion neodymium drivers, ellipsoid directivity, laminar vented ports and up to 30% weight reduction.

Lab.gruppen announced the release of version 1.1.0 of CAFÉ, a setup tool for the company’s PLM+ and D Series amplifier platforms. Available for Mac and Windows, CAFÉ enables quick and accurate optimisation of per-channel power output, to match the connected loads in both installed sound or touring applications. Version 1.1.0 also introduces Auto RPM, a significant enhancement of CAFÉ’s unique Rational Power Management feature. Working in conjunction with the new Lake Controller 6.3.1 release, Auto RPM allows for automatic optimum power allocation among the four channels in a frame based on the ISVPL settings already defined in the Lake module files.

In a joint showcase Lawo and Neumann demonstrated the integration of Neumann’s DMI-8 digital microphone interface, utilising Ravenna audio-over-IP technology. The DMI-8 supports eight digital AES42 microphones and is operated via the Neumann RCS remote control software that is seamlessly integrated into the mc² series consoles, allowing adjustment of Gain, Pre Attenuation, Polar Patterns, Low Cut filter settings and others.

Le Maitre demonstrated the latest effects added to its range of VS (virtually smokeless) pyrotechnics - including VS Mines, VS Starbursts, VS Ice Waterfalls, VS Waterfalls, VS Volcano mines, VS Ice Gerbs and VS Flashes.

Le Maitre also showcased the ScentFX range of unique scenting products. The scents are ideal for adding that extra sensory dimension 54

to occasions such as weddings, theatre shows, concerts and commercial launches. Le Maitre also added a brand new product to its special effects line-up with a powerful confetti cannon.

The ProConfetti Blower projects confetti and glitter 40 - 60ft in the air, to create an arena-full of swirling confetti.

Le Mark Group showcased the Hot Runner Floor Caddy, which is built primarily from powder-coated steel. Designed for used on a regular basis, the ‘caddy’ makes long run floor taping quick, easy and accurate. Additionally, the company presented its Wideboy Floor Caddy, which is made to the same specification as the Hot Runner Floor Caddy, but designed specifically for clients regularly applying tape in a range of widths, from 50mm up to a maximum width of 150mm.

Look Solutions introduced its new Low Fog Attachment, which can be used with most current fog generators, which are equipped with an analogue or DMX-connector, to create dense, low-lying fog effects. The Low Fog Attachment is controllable via Ethernet, DMX and analogue and features several individual adjustments based on the Co2, air and fog parameters.

LumenRadio launched Mira - a solution designed to deploy large-scale Internet of Things (IoT) installations in M2M and building communications applications. Built on years of experience in creating highly reliable wireless lighting controls, the LumenRadio Mira platform offers excellent radio performance, unmatched reliability and is easy to integrate, shortening your time to market. Mira can be

used to link practically any device - light, energy, environment, security, transport and weather.

Lynx Pro Audio exhibited the new CXA Line array, the GXR touring series, HR Installation series and the Ionic columns, as well as the company’s new power amplifiers = the HPX and RS series. The CXA is a flexible solution for both fixed installations and touring, designed to be flown either horizontally or vertically, that can be used as a single element or a combination of a maximum of four cabinets in array configuration delivering 72º coverage in the vertical plane. The GXR Series is designed as an economical solution to the ADP Series. The ionic series comprises two full-range modular columns and two subwoofers, whilst the HR Series has been designed to offer the utmost sound quality for installations.

Madrix celebrated its 10th anniversary at Prolight+Sound and also showcased its innovative LED lighting control software, designed for use in projects and installations all around the world. The Madrix 3, which was named Product Of The Year 2013 -2014 by Live Design in the category Lighting: Software / Control, was first presented to visitors at the international trade show ten years ago. The next update - Madrix 3.4 - was presented for the first time at PL+S 2015 and allows operators to work faster and more creatively.

Magic FX introduced several new products including Printed Confetti and FX Powders as well as displaying a prototype of its new machine - the Phantom, the first bubble machine designed specifically for the festival market.

EXPO: Prolight+Sound

Below: Magic FX International Account Manager Jip Van Krieken with Account Manager Chris Habraken; Martin Professional Product Manager Mark Buss; Kinesys Marketing & Communications Manager Steven Fowler; Meyer Sound’s Marketing Manager Eve Bryggman; The Area Four Industries stand; Keleigh Batchelor European Marketing Coordinator at Pioneer EU with David Ferreira of Technical Sales; Simon Bull, Director of Sales at Martin Audio; The Neutrik stand.

“

Flying out to install ProLyft Service Points or to perform a Prolyte Campus all over the globe is our way of showing commitment to our customers.

This is how Prolyte helps you build great things

“

Jasper van der Sluis Product Engineer ProLyft

WWW.PROLYTE.COM 56

MA Lighting presented a new series of compact lighting control solutions - the dot2 range, which consists of three lighting consoles; dot2 core, dot2 XL-F, dot2 XL-B; two playback expansion wing solutions; dot2 F-wing and dot2 B-wing and the dot2 Node4 (1K) network output node as well as the dot2 on PC console software and the dot2 3D visulisation software solutions.

Martin Audio showcased its new installation-focused loudspeaker range - the CDD Series, which combines distinctive curved enclosures with unique coaxial differential dispersion technology. The series is designed to deliver excellent performance, fidelity and coverage consistency to venues that demand cutting-edge technology and style. CDD was conceived as a one stop solution; six two-way full-range coaxial systems - from the micro CDD5 to the powerful CDD15, complemented by high-performance subwoofers - cover the majority of install applications; all models come in black or white as standard and all RAL colour variants are available to order.

Martin Professional showcased MAC Quantum Profile as well as the Martin M-Touch controller and VDO Fenix creative lighting solutions. Several new additions to the Rush

line, and the winner of Martin’s annual Young Lighting Designer contest, were also announced on the stand.

MC² showcased the latest addition to its E series amplifier range - the E60 four channel amplifier, which is designed to the highest standards of reliability and sound quality.

Developed for the touring market, the E Series retains the sonic integrity of the benchmark MC and T Series amplifiers, without the physical weight.

MDG celebrated its 35th anniversary at Prolight+Sound with the release of three new fog generators, as well as a new website. The Me Series has been designed as the next stage in MDG’s evolution of fog and represents a new family of generators with a higher degree of controllability and a powerful output from a compact chassis.

Meyer Sound demonstrated its new Leopard and 900-LFC line array systems, which boasts an impressive power-to-weight ratio and ultra-low distortion. Both the Leopard and the 900-LFC join Meyer Sound’s flagship Leo Family, as the company’s smallest and most versatile line array models to date. The Leopard line array loudspeaker and the 900-LFC low-frequency control element offer an unprecedented level of

EXPO: Prolight+Sound

Below: Nexo European Sales Manager Alain Boone with Chairman & CEO Jean Mullor; The team from Prolyte Group; Optocore Managing Director Marc Brunke; SSE Audio Group Sales Manager, Richard Watts with Sales Director, Alex Penn.

clarity, power, precision, and ease of use.

Milos Group attended PL+S under the umbrella of Area Four Industries. Founded in 2012, Area Four Industries combines the design experience, knowledge, and manufacturing capabilities of its three brands - Milos Structural Systems, Litec and TOMCAT. James Thomas Engineering came on board in 2014 and the union of these four brands led to an improved and redefined structure that has allowed Area Four Industries to give its customers access to the worlds largest offer of truss, support structures, peripheral products and related services.

Neumann&Müller attended PL+S as exhibitor for the first time in the company’s history. As a service partner of Messe Frankfurt, N&M specialists use their knowledge of the trade show’s halls to effectively advise clients while they are planning their fair, helping to optimise workflow, as well as facilitating better coordination with the various departments of the trade show.

Neutrik AG celebrated its 40th anniversary at this year’s Prolight+Sound. Additionally, 2015 marked the year in which Neutrik produced its 1’0000’000’000th connector. Following on from 1983 - when the first million had come off the assembly line - this new milestone means one thousand times more.

Nexo introduced its brand-new family of low-profile, high-output loudspeakers, aimed primarily at the installation and commercial audio markets. The ID Series promises classleading power and performance combined with an unprecedented level of versatility, making it suitable for a huge variety of install and touring applications. Using a variety of mounting options, the ID24 compact cabinet can fit into almost any environment, whilst its ability to offer high SPL output with variable directivities enables it to ‘beam’ sound into difficult spaces.

NEXT-proaudio introduced the new LAm114xA active stage monitor as the latest addition to the LAm range. The monitor includes an advanced coaxial 14-inch speaker, custom made by B&C and a high performance DPA amplifier module, which is capable of generating 1650WRMs of high-definition 58

power for very high acoustic pressure. This stage monitor combines 12-inch associated voice reproduction clarity with the kind of bass extension typically reproduced by the 15-inch speakers. High frequency reproduction is assured by a two-inch exit, three-inch voice coil and a HF neodymium driver, for improved resolution on the critical voice frequency range.

Numark introduced its all-new Lightwave powered loudspeaker with dual LED arrays.

The Lightwave is designed for any situation where great sound quality and party lighting is desired, but where space and setup complexity are major considerations. Lightwave’s simple control configuration includes five distinct lighting modes, coupled with custom RGB colour control. Lightwave’s ultra portable form factor, coupled with 100W of continuous power provides added assurance that setups are clean and uncluttered without sacrificing sound quality.

Optocore showcased its multi-interface M8 and M12 models. The M8 features four MADI ports, two SANE ports and two Optocore hispeed fibre uplinks. Similarly the M12 features eight MADI ports, two SANE ports and two Optocore hi-speed fibre uplinks. In addition, each of the new MADI devices also work as a stand-alone routers with a single-channel nonblocking matrix - and both can be integrated with any other Optocore interface.

Outline Pro Audio showcased its Eidos 218 S - a powerful subwoofer featuring an exceptional size to power ratio and extended low frequency reproduction - which is ideal for applications requiring high-powered subbass delivery. The 218 S incorporates E.R.P a proprietary design that assists airflow and enhances transducer efficiency, thus providing tremendous punch. Based on the principles of fluid dynamics, this unique configuration of specially shaped ports ensures optimum laminar airflow, maximising efficiency and enabling more amplifier power to be converted into acoustic energy.

Panasonic showcased the PT-DZ21K Evo projector series. The DZ21K2 Evo maintains the 20,000 lumens of brightness of the original DZ21K, but features extended lamp

life, lower operating noise, improved image clarity and connection, thanks to Digital Link compatibility and two 3G-SDI inputs. Panasonic also showcased the 1-chip DLP PT-DZ780, a 7,000 lumens dual-lamp projector which is the quietest in its class, as well as the latest range of video wall displays, the LFV70, which features the industry’s narrowest bezel of only 3.5mm.

Philips Entertainment lighting brands Vari-Lite, Selecon Strand and Showline -unveiled a broad portfolio of new creative tools for lighting designers, including the brand new VL4000 BeamWash, a luminaire that combines stunning wash capabilities with intense beam functionality. Philips also supported partner company Cast, who hosted the launch of three new Showline products: the SL Punchlite 200, the SL Strip 10IP and the SL Beam 300fx. The IP65 rated, flexible, high output SL Punchlite 200 delivers a powerful, blended beam and features a motorised zoom range of 8°- 47°. The SL STRIP 10IP delivers strong, blended washes of colour that emulate traditional halogen strip light effects.

Pioneer Pro Audio announced a new management structure, which places greater levels of responsibility on the shoulders of its new EMEA headquarters in West London, UK. The expansion sees Dorine Lagersie and Mary Jong take up Marketing Executive positions, whilst Ben Owen fills the role of Marketing Coordinator. Keleigh Batchelor has been promoted to Marketing Executive responsible for PR, advertising and creative. Overseeing the team is Tania Lee who has been promoted to the role of Marketing Manager.

Powersoft celebrated its 20th anniversary.

The Italian manufacturer welcomed visitors onto a new stand, designed around two imposing ‘X’ motifs, an allusion to the X Series workhorse platform as well as the company’s two decades of innovation. The company showcased the breadth of its offering, including the Ottocanali DSP+D, the flagship M and K Series amplifiers as well as the revolutionary M-Force Technology and the successful X Series.

PreSonus introduced its StudioLive CS18AI mix controller, a versatile, scalable, modular control surface for StudioLive RM-series rack-

EXPO: Prolight+Sound

Below: The PR Lighting team; The team from Adlib visited the expo to check out the latest in audio innovation; RCF Head of Marketing Gioia Molinari.

mount, active integration digital mixers and PreSonus’ Studio One DAW. The new controller also makes it even easier to perform virtual soundchecks, live recordings, and studio mixdowns with PreSonus’ Studio One DAW and Capture recording software.

PRG demonstrated its products and services in the Festhalle in Frankfurt Messe. Using the PRG / LEA Awards Stage, PRG ran a 10-minute show every half hour on the hour. In addition, all visitors were given opportunity to look behind the scenes of the PRG / LEA Award Stage to get an idea of how the show was implemented, including video mapping and a lighting rig that includes, 36 PRG Bad Boy Spots, 12 of the new, brighter PRG Best Boy HP Spots, and 107 of the 60,000 lumen PRG Best Boy Wash luminaires.

PR Lighting’s stand featured a dedicated lightshow booth running adjacent to that of its German distributors, Focon Showtechnic, to help demonstrate its magnificent seven - the XLED 1061, XLED 3007, XLED 3019, XR130 (in spot and beam versions), XR330 Spot, XR1000 Framing and XRLED 700 Spot - as well as other popular catalogue items.

Prolyte Group was in attendance with its Prolyte Locator app, featuring over 500 listings. New catalogues for the trussing and staging range were available, including fully updated, Eurocode compliant, loading tables.

New products included the Aetos 250Kg hoist - enthusiastically presented by the ProLyft team

- as well as the Prolyte XXL roof, a massive roof system, which has already proved to be a very successful investment for customers in Finland and Venezuela.

QSC announced the introduction of its new version 2.1 firmware for the TouchMix compact digital mixers, which adds additional features and functionality. Also announced was the GXD Series professional processing amplifiers delivering a powerful and flexible line of affordable power amplifiers with built-in DSP. RCF added the three-way TTL6-A line source to its touring and theatre range. This high power, active line source is engineered to deliver high fidelity output, both indoors and outdoors and to serve a wide variety of medium-to-largespace applications. The TTL6-A is equipped with two by 12-inch woofers for bass, four by 6.5-inch midranges and a two-inch compression drivers with waveguide for distinctive homogenous directivity.

Renkus-Heinz showcased its full line of Iconyx steerable line array systems, including the Full IC Live Portable and IC Live Dual systems as well as the IC2, and all configurations of the Iconyx IC-R-II systems, with triple tweeter technology. Renkus-Heinz also demonstrated RHAON II the Audio Operation Network and offered an exclusive preview of Gen5, the next generation in Iconyx steered beam technology.

Riedel showcased the Tango TNG-200, which represents Riedel’s first network-based

platform supporting Ravenna / AES67 and AVB standards. With its own dedicated intercom application, the platform can be turned into a flexible, cutting-edge solution for a variety of communications scenarios. The unit itself is equipped with a high-resolution, full-colour TFT display that ensures readability at all times.

Intuitive front-panel controls simplify the recall of presets and adjustment of audio levels. Along with powerful processing capabilities, the Tango TNG-200 features two integrated Riedel digital partylines, two Ravenna / AES67- and AVB-compatible ports, two Ethernet ports, one option slot, and redundant power supplies.

Robe showcased the BMFL Blade, which joins the recently launched BMFL Spot as the latest fixture in Robe’s signature BMFL range.

The latest additions to the DL range include the DL7S Profile, DL4X Spot, DL4S Profile and the DL4F Wash; there are two new versions of Robe’s ParFect LED PAR fixture, a new LED batten fixture, the CycBar 15 as well as a brand new LED moving light spot fixture, VIVA. Robert Juliat celebrated the official launch of Roxie, its new 300W LED followspot. At the opposite end of the scale, the rugged Merlin 2500W HMI touring spot was shown for the first time at Prolight+Sound. The company also extended its popular ZEP Fresnel range, with the presentation of the new 360LF 300W LED Fresnel. Robert Juliat also celebrated the launch of its exclusive new model Dalis - an

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EXPO: Prolight+Sound

Below: The team from Powersoft Audio; Renkus Heinz VP of Marketing & Sales Rik Kirby with Marketing Manager, Margie Ulm; Rick Scharpenberg Marketing & Communications at Riedel with Marketing Director, Stefan Klinge; Roland Systems Group Sales and Marketing Director, Peter Heath; The whole team from Robe Lighting; The Sennheiser team.

asymmetrical cyclorama light with an LED source. Dalis has been designed specifically for theatre, TV and entertainment applications, to deliver wall washes as well as cyclorama applications.

Roland Systems Group showcased the new M-5000 live sound digital mixing console.

The platform, known as O.H.R.C.A, stands for three key concepts: Open; High Resolution; and Configurable Architecture. This combination adapts to the needs both of the application and the operator by delivering 128 freely definable audio paths, an extremely flexible user interface, expandable protocols and multiple-format I / O choices. All paths are delivered at a pristine 24bit / 96kHz sound quality. The network options are equally versatile.

Rosco introduced the LitePad Vector a powerful, compact and portable LED fixture that is able to produce 1500 Lux at one metre with a CRI of up to 93, which creates a high volume of light. LitePad Vector’s eight by eight- inches LED engine has a colour temperature range of 3000K - 6000K. Rubber Box showcased its Socapex lighting distros, its audio breakout boxes and a wide selection from the company’s ‘off-the-shelf’ range of power distribution enclosures.

For Sennheiser, Musikmesse was all about the European launch of the evolution wireless D1 microphone series. The digital systems are totally self-configuring and have both intelligent frequency management and automatic sensitivity adjustment. The evolution capsules are also included in the 2.4GHz version, supplemented by an instrument set, a lavalier set and a headset version. Additionally the evolution wireless G3, the 1.8GHz evolution wireless systems and all the wired evolution microphones 60

were on display.

Exhibiting again at PL&S saw many new faces visit the SES stand, with increasing interest in its Power Distribution Products. New to the show this year was the popular GaffGun, a unique product which SES distributes. With visitors and enquiries from a very wide range of countries, SES has already realised several orders in its post show follow up. SGM’s G-1 Beam moving head, generates a sharply defined, flat and uniform beam, that operates rapidly in every movement and provides intense mid-air beam effects through a high power white LED light source. Complete with both a colour wheel and a gobo wheel, the G-1 generates high contrast levels and an extreme brightness. Adding to its uniqueness, this moving head is not only IP65rated and maintenance-free, but also offers the exclusive choice of being either battery-driven with an impressive 10 - 12 hours operation in typical use or being connected wired mains power.

ShowTex showcased a wide range of new and exciting textile solutions at Prolight+Sound, including a printed version of its AluShape molding cloth, a unique velvet laser cut backdrop, a giant glassless mirror, and the new and revolutionary AV Drop freestanding wall system, which eliminates time-consuming onsite woodwork, and allows designers to create sleek backdrops and temporary walls of up to six metres in height and of infinite width.

Shure and Harman’s Soundcraft announced a new collaboration, designed to enable native monitoring and control of select Shure wireless systems on Soundcraft Vi Series digital consoles.

The initial implementation will be revealed on the new Soundcraft Vi5000 and Vi7000 Digital Mixing Consoles, which were introduced at

the show, and will support Shure’s ULX-D and QLX-D Digital Wireless Systems. This new integration with the mixing console enables automatic Shure device discovery, identification, and mapping of each wireless system to the appropriate mixer channel.

Spotlight announced the release of the ARC (Automated Remote Control), which enhances the performance of all conventional lighting fixtures: from theatre spots to TV luminaries and even video projectors. These fixtures, although more complex and expensive than the corresponding traditional models offer a much higher level of performance and, in the medium term, a significant cost saving.

Solid State Logic announced the release of its new V3 software, which introduces over 40 new software and hardware features and updates for its SSL Live console range. The L500 becomes the L500 Plus, to mark the significance of this new release in the on-going evolution of the acclaimed console. The power of the L500 rises from 192 mix paths to 256 with a doubling of effects processing power. The L300 also enjoys a power increase from 128 to 192 mix paths.

Providing a wider range of options to its industry-leading Vi Series digital mixing consoles, Soundcraft by Harman introduced the aforementioned Vi5000 and Vi7000 models, offering optional 96kHz processing, upgraded channel counts and even more reliable hardware to the mixing interface. The Vi5000 and Vi7000 replace Soundcraft’s popular Vi4 and Vi6 consoles, offering significant technology and feature set improvements, whilst retaining and building on the user interface and sound quality characteristics that have made these consoles a favourite on riders for the last eight years.

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EXPO: Prolight+Sound

Below: SGM CEO Peter Johansen; Steinigke Director of Communications, Michael Dill; Visual Productions Sales Manager Zoe Castle with Managing Director Maarten Engels; XTA Technical Brand Manager, Waring Hayes with Sales and Applications Support Manager, Richard Fleming; The team from Wireless Solutions; Yamaha Commercial Audio’s Regional Manager, Terry Murphy with Sales & Marketing Manager, Karl Christmas; Eaton European Sales & Marketing Director David Catterall with Product Specialist Jon Hole.

Steinigke Showtechnic presented the latest product from its Eurolite, Futurelight, Omnitronic, PSSO and Europalms brands, as well as dazzling its visitors with an impressing light show, including some interesting new devices, along them the powerful Futurelight Color Mega Waves and Eurolite Zeitgeist TMH-360 Z.i, as well as a new app called Light’J, which enables users to control their light devices via iPad or iPhone.

Studiomaster showcased digiLiVE, the new ultra-compact 16-input / eight output digital audio mixer. With a seven inch Android driven high-resolution touch-screen and eight motorised 100mm fader operation, alongside fully remote tablet operation. The 16 inputs include 12 professional microphone input channels, AD / DA conversion is 24 bit / 192 kHz, there are up to eight internal effects busses with reverb, delay, 15 band EQ and modulation - the eight ‘smart’ XLR analogue outputs.

The Cuety App from Visual Productions is a new generation lighting controller that turns your iPad into a powerful lighting console. Easy to use and budget friendly, Cuety enables you to take full advantage of the iPad’s mobility.

Making its debut appearance, the controller includes full support for moving heads, LEDs, conventional lighting and DMX controlled special effects.

Voice-Acoustic showcased its HDSP multichannel amplifier series. Available in various performance classes from 1600W up to 16,000W, the DSP-amp models, with Class-D technology, are constructed in modular design with an upside-down layout of electronics, in a stable corrosion-resistant aluminium body housing. The multiple power supplies, power 62

amp sections and DSP boards, ensure the highest reliability, serviceability and maximum bass performance without interference between the channels. The integrated loudspeaker management system works with 64 bit / 96kHz sample rate in audiophile sound quality.

XTA Audio showcased the APA Series, its latest range of four channel Class D amplifiers, featuring extensive processing, connectivity and control capabilities. The new power and DSP platforms have been designed to interact intelligently and adapt to prevailing conditions, protecting drivers, and significantly enhancing performance from all speaker systems. There was also a review of the iPhone app to control the DC1048 allowing for complete control from your phone.

Altman Lighting, CORE Lighting and Interactive Technologies exhibited alongside its European distributor White Light, which provided an excellent opportunity to launch CORE Lighting’s StripPoint, a new LED batten featuring 18RGBW LEDs, as well as Altman Lighting’s new LED SpectraCyc 400 and Interactive Technologies’ CueServer 2.

Wireless Solutions displayed its growing line of G4S products, including the W-DMX UglyBox MK2 - a compact new wireless signal tester, which serves as a valuable tool for users of wireless products, providing proof of signal and piece of mind in the absence of visible cable.

The UglyBox MK2 is housed in a compact body, resembling a gaming control with a 4.3-inch Touch LCD Screen, about the size of an iPhone.

It supports 2.4GHz, 5.2GHz and 5.8GHz and is a transceiver solution, which means that it can be used as both transmitter and receiver.

XLNT Advanced Technologies launched

its brand new CyberHoist II system at Prolight+Sound, the second generation of the world’s first intelligent, variable speed chain hoist, specifically designed for heavy-duty, worldwide touring and large-scale events.

Designed with safety as a priority, CyberHoist II embraces SIL 3 compliant technology, controlled

by CyberMotion’s MotionCue3D Performance Console and is compliant with applicable international safety standards and codes of practice.

Yamaha showcased its TF series of digital consoles, which comprise three compact, performance-driven Yamaha digital mixing consoles. The TF5, TF3 and TF1 respectively feature 33, 25 or 17 motor faders, along with 32, 24 or 16 rear-panel analogue inputs, which feature recallable Yamaha D-PRE preamplifiers for the first time in a digital console. This facility provides greatly improved support for live music and events where full setup changes need to be made on the fly.

Eaton / Zero 88 showcased the FLX lighting console. The clean, straightforward, intuitive User Interface offers tools like Patch Wizard and Auto Palettes to take care of all the prep work, allowing lighting directors and operators to work faster and more harmoniously. Three-step programming streamlines time and operational processes, and when working with fixtures that colour mix using different methods, the software will work everything out so all the fixtures respond correctly and accordingly.

Industry standard syntax and intuitive fader-perchannel intensity control enables operators of all backgrounds and experience levels.

TPi https://pls.messefrankfurt.com

IN PROFILE: Global Infusion Group

GLOBAL INFUSION GROUP FROM CATERING COLLEGE TO INTERNATIONAL CATERER TO THE STARS, EAT TO THE BEAT BOSS TONY LAURENSON LOOKS BACK ON OVER 30 YEARS AT THE HELM. WINNERS OF AN ABUNDANCE OF TPi AWARDS, THE COMPANY IS CERTAINLY A FIRM FAVOURITE WITH TOURING CREWS ACROSS THE UK AND EUROPE. TPi FINDS OUT THE KEY TO GIG’S UNRIVALLED POPULARITY. Tony Laurenson has always loved music and travel. As a teenager he worked as a chef while studying hotel and catering management at college and in his spare time was a drummer in local bands.

After a brief spell with event caterers Searcy’s, Tony joined the Merchant Navy to see the world. But it was a chance meeting with an old band mate that would transform Laurenson’s life forever – and lead to the creation of one of the UK’s premier catering, logistics and brand support companies.

Recalled Laurenson: “I used to work in a wine bar called Micky Finns in Hatch End, North West London. By complete coincidence a friend of mine was living in the flat above the wine bar. We were in bands together at college and by then he was third man on the sound crew for The Who. He told me there was a new concept of bands taking chefs on the road. It was work 64

hard, play hard - but would be loads of fun. I liked the idea and got a job for a couple of years with a company who were all lovely people, but it was mainly the girlfriends of roadies and artists… I was the only man!”

“It was domestic cookers, pots and pans in cardboard boxes and I was the only one with any proper catering training and experience. I tried to get a partnership in that company but they didn’t really want to know so I set out on my own, not wishing to tread on anyone’s toes, and came up with the name Eat to the Beat.

That was 31 years ago.”

When Eat to the Beat launched in 1984, one of Laurenson’s early assignments was to provide backstage catering support to an international tour by rock band Iron Maiden. Very soon other top artists and bands were enticed by delicious food,a friendly and professional dynamic approach and ultra-efficient logistics services.

For over three decades Eat to the Beat has provided specialist backstage catering services for the music, entertainment, film and TV industries.

It has supported some of the biggest names in the live entertainment world across Europe, the US and sometimes globally, including Alicia Keys, Lady Gaga, Barbara Streisand, Jay-Z, the late Frank Sinatra and Amy Winehouse, James Brown, David Bowie, Justin Bieber, Coldplay, UB40, Take That and Status Quo to name but a few.

DIVERSITY Eat to the Beat is one of the most recognised names in the music business, feeding international stars and their crews at music concerts and festivals around the globe. It caters major UK music festivals such as Glastonbury, Reading, V Festival, the Barclaycard

IN PROFILE: Global Infusion Group

Opposite: Eat To The Beat was crowned TPi’s catering company of the year once again in 2015. Below: Bonnie May Global Operations Director, GIG; Mary Shelley-Smith Global Operations Director Eat to the Beat; Tony Laurenson CEO, GIG.

British Summer Time Festival in Hyde Park, and high-profile tours for TV shows such as Strictly Come Dancing and Dancing on Ice. Today Eat to the Beat is part of umbrella company Global Infusion Group (GIG), set up by Laurenson to cover a diverse range of business divisions. GIG, which prides itself on ‘feeding your imagination’ with creative and groundbreaking innovations, now operates four dedicated divisions.

As well as Eat to the Beat headed by Global Operations Director (GOD) Mary Shelley-Smith, the company has a bespoke corporate, private party planning, catering and event design division, GIG…fyi, established in 1988. It is run

by Global Operations Director Bonnie May who is also Laurenson’s partner. GIG…fyi (feeding your imagination) is taken from the group’s strapline.

GIG Sport was formed in 2002 and is headed by Global Operations Director Felix Zafra. It specialises in catering sporting and automotive events while e2B, set up in 1997, is headed by Global Operations Director John Ford, and serves as the logistics and brand support division to help market and promote predominantly food and drink products working in the Experiential Marketing as well as straight forward Storage and Distribution worlds.

GIG’s various divisions have catered functions at iconic locations globally. From Buckingham Palace and 10 Downing Street to the Great Wall of China and remote Ice Fields of Inner Mongolia. GIG was also on site providing catering at London 2012 and the Winter Olympics in Sochi 2014.

Over the years the business has evolved world-wide with well established offices for the US on both coasts; Qatar for the Middle East and since 2009 Shanghai, China - catering across Asia and the Far East. This time last year the company had worked in 52 different cities within China and seven other countries in the Asia region, including South Korea with Lady Gaga.

Last year GIG received the prestigious

Queens Award for Enterprise in International Trade which reflects the global growth of the business.

In March this year GIG’s global reputation was further enhanced when the company was selected to cater a high-profile international trade event in Shanghai attended by HRH The Duke of Cambridge to promote the very best of Great Britain. The Great Festival of Creativity was part of the UK government’s GREAT Britain campaign which aims to generate jobs and growth by promoting Britain as a world-class destination for trade, tourism, investment and education.

A FAMILY ETHOS GIG currently employs around 100 full-time staff world-wide, supported by up to 3,000 freelance professional specialists who support the hundreds of global events and functions it works on each year. This global success has all been built upon those solid foundations Laurenson laid when he launched Eat to the Beat.

launched this year for the domestic regional market - private parties and functions.”

“Mary has been with me for 24 years. She runs Eat to the Beat with me. Gaynor, our accountant has been with us over 20 years.

Then there’s a whole bunch of freelance crew who have been with us for over 15-20-years.

From a group of friends we have grown our business. We are loyal to each other, we are friends, we socialise - we work together and we play together. That’s the sort of family ethos that underpins our entire operation.”

TOUR LIFE In keeping with the family theme, Tony’s son Matt is a Senior Account Manager with e2B. “Coming from our roots the music business, a phrase like ‘what goes on tour stays on tour’ is very familiar. Tours used to be a lot longer than they are now - four months was quite a regular tour. As caterers we were first in and last out but the entire crew - from the lighting, sound and rigging departments would travel on the same bus. We wake up, brush our teeth, load

“At Eat to the Beat we’re one big family. That’s our style.

It’s all about being friendly and looking out for everyone...”

Tony Laurenson, GIG CEO

Said Laurenson: “Eat to the Beat are our roots. Yes, I built it initially but it’s now very much ‘we’ because one person alone can’t do what we do. We have a great group of people here who have been with me for most of this journey. Bonnie, who is also my life partner, has been working with me for 26 years. She now runs Gig..fyi and Bonnie May Events which we

in, work together all day long then load out and start again. You get to know someone pretty well in four months of such close proximity, so friendships made on tour can consequently last a life time.

“Being on a tour may mean Monday in Hull, Tuesday in Liverpool, Thursday in Sheffield and so on.... every day is different but the phrase 65

IN PROFILE: Global Infusion Group

Below: Tony Laurenson received The Queen’s Award from The Lord Lieutenant Sir Henry Aubrey-Fletcher; The GIG team, VIP guests and civil dignitaries celebrated The Queen’s Award for Enterprise.

‘you’ll always find him in the kitchen at parties’ is another classic tour truth. The kitchen and the dining room are the places people can come and chill out in. It’s the ‘home from home’ on the road. You have strangers working with you during the day such as local technicians, agents, media. VIPs come into the dining room to recover their sanity!

“At Eat to the Beat we’re one big family.

That’s our style. It’s all about being friendly and looking out for everyone. When we are looking for new people - we aren’t necessarily looking for the best chef in the business, we are looking for happy, smiley, flexible, friendly faces. We want people who don’t mind working hard and who think like we do… people who care. Being with people that get on is so important. We are seeking nice people to join the team, more importantly than world class caterers. Although that being said, we do have a fabulous reputation for food too!”

TROPHIES GALORE Our friendly approach, I would like to think gives us something that really has set us apart over the years from others and has allowed us to be among the best in our chosen market place,” he said.

And Eat to the Beat have the trophies to prove it. This year Eat to the Beat were voted the favourite caterers at the 2015 TPi Awards incredibly the 11th of a possible 13 times. Said Laurenson of the prestigious title. “That was a very special night for us. To win this award for an 11th time was staggering but it’s also a glowing testament to our fantastic team, both on site and in the office, to ensure that we stay at the top of our game. Our company ethos is clearly working.”

Laurenson has driven his business forward thanks to his brilliant instincts - constantly innovating, learning and bravely improvising when the show must go on.

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PROBLEM SOLVING AND NEW VENTURES He recalled: “I’m proud to say that we’ve catered Reading Festival for 28 years. But once 24 years ago, Environmental Health decided caterers couldn’t cater in marquees, so we couldn’t set up our kitchen. We ventured outside and found that there were these trucks being used by film and television caterers, so we bought our first mobile kitchen truck - known as the ‘horse box’ - and used it for that one season to work all our festivals.

“Environmental Health then realised they’d got it wrong and changed the rules back again - and we were left with a mobile kitchen we didn’t need… so we launched our film and TV division in order to cater on location.”

Now GIG has a fleet of mobile kitchen vehicles kitted out to meet the company’s bespoke requirements.

When Laurenson was told the food he was supplying to the crews and stars was often better than the food being served to VIPs, Corporate guests, or paying punters at front of house, he launched his corporate hospitality division.

Around 19 years ago a then little known drinks company asked Tony to store some bars and fridges for them. Within a year new business had evolved worth over £1m GBP for Red Bull’s experiential marketing and sampling.

Today GIG’s e2B division handles the logistics for over 1200 assignments each year for one of the world’s most famous drinks brands.

Said Laurenson: “We are renowned for the way in which we have retained our clients, developing strong long-term relationships with them. I think our family ethos has helped in this regard. Clients like our friendly, professional, reliable service - and the fact that we are always prepared to go the extra mile.

“We’ve learnt our trade in the high octane world of the music business and that’s where we also learned you need to look after your

fellow suppliers. We call it the currency of the bacon butty. It’s all about looking after security, looking after the truck drivers, looking after the technicians. We are first in and last out.

When the truck doors open, our gear comes out first and it’s early in the morning, and the first thing we do is cook everyone a bacon sandwich. Straight away you have everyone on side. I always make sure we look after security, because they can make your life heaven or hell!”

LOYALTY Laurenson continued: “We’ve also got a fantastic, loyal staff and many have been with us for years. Wherever possible we try and recruit from within. Mary and Bonnie, like me, were freelance caterers before we all got together. I’d done hundreds of gigs at Brixton Academy and I’ve always considered myself an average, hard-working, diligent, friendly chef but Bonnie is bloody good. When I was doing Brixton size shows, she was catering at Wembley Arena. It made sense for her to run our corporate division. Then there’s Mary, our very hard-working Scottish business woman who and treats every pound like a prisoner.”

The tour life certainly has engulfed the GIG team outside on all levels. “Initially Bonnie married a sound engineer, and Mary a lighting tech. The music business is in our blood, it’s in every part of our lives. There comes a time when working 18 hour days on tour is slightly exhausting so if we can recruit from within then that’s what we like to do, because our people know what is expected of them.

“These days when I go to an event, I know I can’t cook as well as our chefs, so often I will end up by the sink because that’s often the bottleneck in a catering operation. after all, there’s always washing up to be done!”

TPi www.globalinfusiongroup.com

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IN THE SPOTLIGHT: Soundscraft Vi Series

SOUNDCRAFT’S Vi5000 AND Vi7000 HAVE LANDED PROVIDING A WIDER RANGE OF OPTIONS TO ITS INDUSTRY-LEADING Vi SERIES OF DIGITAL MIXING CONSOLES, HARMAN’S SOUNDCRAFT INTRODUCED THE Vi5000 AND Vi7000 MODELS AT PROLIGHT+SOUND 2015. THE NEW ADDITIONS OFFER OPTIONAL 96KHZ PROCESSING, UPGRADED CHANNEL COUNTS AND RELIABLE HARDWARE TO THE END USER. WITH THE NEW PRODUCTS SET TO REPLACE THE COMPANY’S POPULAR Vi4 AND Vi6 CONSOLES, TPi’S KELLY MURRAY ASKS Vi PRODUCT MANAGER, ANDY BROWN, HOW THIS EXCITING NEW DEVELOPMENT CAME INTO FRUITION. Soundcraft’s new Vi5000 and Vi7000 products are set to replace the company’s flagship Vi4 and Vi6 consoles. With such well-known products already firm favourites with many engineers, the design process for this next generation of product must have been critical to get right. How long were these products in development, and what do you feel are the key features that will reassure Soundcraft users that this is the next logical step?

Development has been taken place over the last few years, and although the 5000 and 7000 are replacing the 4 and 6, it’s really an ongoing development of the original consoles, based almost entirely on all of the feedback we’ve 68

gathered over their lifetime. Although we’ve been developing the Vi4 and 6 continuously over the years, there comes a point when they will outgrow the capabilities of their original hardware such as DSP power and processor speeds.

What we’ve done with the 5000 and 7000 is upgrade all of the hardware to latest technology and made use of un-tapped DSP power in the Studer-designed engine and I / O system, in order to increase the input channel capacity up to 128, run the console at 96kHz and add some classic BSS DPR901ii dynamic EQ processing which is a fantastic problem-solving tool. There are also new operational features including the ability to monitor the battery and RF information

on Shure ULX-D and QLX-D radio microphones, more recording feeds out of the console and improved iPad remote control. There are lots of other features yet to be revealed too, which will be announced over the coming year. It’s a very exciting time for Soundcraft.

For those potentially switching to Soundcraft for the first time, what are the primary selling points of this series that are able to make touring life a little smoother?

For those who have not used a Vi console before, the most noticeable thing would be the Vistonics knobs-on glass user interface, which gives a comfortable and enjoyable way to operate a mix, and the more pressurised the

IN THE SPOTLIGHT: Soundscraft Vi Series

Opposite: The Harman Soundcraft Vi7000 digital console; The consoles were shown at the Palais Frankfurt during the Prolight+Sound tradeshow; Vi Series Product Manager, Andy Brown; The Vi5000.

job, the more important this benefit becomes.

However, in the new 5000 and 7000 we have the wonderful BSS DPR901ii Dynamic EQ, new encoder assign functions, user key shortcuts and updated screen graphics, as well as slicker layer changes thanks to a faster, cooler running surface control processor.

The products were unveiled at this year’s Prolight+Sound in Germany. How was the response to the products on the show floor?

It’s always great to be there to see the reaction of a launch event when something we’ve spent so long working on is finally unveiled, and PL+S is a great place to do that as there are so many international visitors as well as all of the major UK rental companies in attendance. The reaction was fantastic, I think there was a lot of positive surprise, as we’d kept the development fairly quiet whereas some launches by competitors had already been rumoured.

You’ve collaborated with Universal Audio on the console’s MADI interface. How did this come about?

Harman have had a relationship with Universal Audio for some years, and we were already licensing our Lexicon reverbs and Studer tape saturation effects to them. UA are known for studio-based plug-in products and we both got together one day and decided it was an obvious idea to collaborate in order to bring UA plug-ins to the live sound market with some purposedesigned, rugged hardware. The Realtime Rack is the result of our working together and offers a great alternative to the other popular plug-in products that are around.

Soundcraft has stated that its predecessors were a highly requested console on touring and live event riders over the last eight years.

Clearly a brand that people believe in, where do you hope the new products will place the company in the live console market now?

We’ve never been an arrogant company, what we want is to make products that engineers enjoy using and which are known for great sound. I think we are known as a ‘listening’ company for that reason. Hopefully by doing that our products will end up on riders and sell

good numbers. Even then, I’m more interested in the fact that if they continue to sell well, they will be easier to find in any location for those working on the road, which at the end of the day will further benefit the touring engineer.

Can you reveal if any rental companies have invested in the product since the show?

The first rental company in the world to purchase a Vi7000 was one of the largest in Poland, ºGigant Sound-Letu with being solf into the install market. In the UK, touring experts Adlib Audio have also announced their intention to buy the new console.

So where can we expect to hear the new desks during the upcoming festival season?

We don’t use engineer endorsements as such, but we do have a community of loyal Soundcraft users who have been helping us develop these products in recent years, and I’m sure we’ll see both the Vi5000 and Vi7000 at some highprofile events this summer. Watch this space!

TPi www.soundcraft.com 69

CLOCKING OFF: Mocktail March Below: Charlotte surrendered her love for prosecco in order to raise awareness for those battling addiction and mental health issues alone.

MIND OVER MEASURE THIS MONTH, TPi’S VERY OWN CHARLOTTE GOODLASS WRITES ABOUT HER PASSION FOR HELPING THOSE FACING MENTAL ILLNESS IN EVERYDAY LIFE. TO HELP RAISE MONEY FOR HER CHARITY OF CHOICE, MIND, SHE GAVE UP THE COCKTAILS AND POURED SPARKLING WATER STYLE FIZZ OVER THE ROCKS INSTEAD. FOR THOSE FIGHTING ADDICTION, MENTAL HEALTH ISSUES ARE OFTEN PRESENT TOO. HERE IS TO BANISHING STIGMA...

It’s true. I did indeed decide to give up my beloved prosecco for an entire month this March in aid of Mind, a charity I regularly donate to because I believe they have it spot on when it comes to banishing the damaging stereotypes associated with mental health problems.

I have been at TPi for nine months now, but it became pretty apparent to me by week one that this industry sure knows how to work hard and play harder! So giving up the booze to raise money seemed like a decent challenge.

‘Mocktail March’ may not be as distinguished as ‘Sober October’ or ‘Dry January’ though, perhaps because I created the event myself…

I checked my social / work calendar for the month with the least tradeshows and booze heavy events (I’m no Superwoman afterall!). I wanted to keep my campaign light-hearted, but at the same time I am very passionate about the cause. Alcohol addiction is an illness that I unfortunately witness on a daily basis, I see the drastic effects it can have on the mental wellbeing of, not only the individual involved, but the people close to them.

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Mind believes that no one should have to face a mental health problem alone, and I agree. They’ll listen, give you support, advice, councelling and fight your corner when even you can’t. They work to improve services, raise awareness and promote understanding.

They won’t give up on anybody experiencing a mental health issue, and strive to ensure that each person gets the support and respect they deserve. Addiction is not a choice for everybody.

If I was able to make the choice not to drink, I wanted it to count for something.

In the UK, one in four of us will experience a mental health problem each year, and every week over 100 people take their own lives as a consequence. Mental health and addiction affect people from all walks of life, and our industry is no exception. So in the spirit of kindness and understanding, I wanted to do something to help.

Mind is often thought of as a lifesaving charity, thanks to its dedicated staff and volunteers. It just goes to show that the little things can sometimes make a big difference, even with something as simple as a reassuring

text. It can mean more than you know to an individual who feels they are truly suffering alone. But when there is nobody to send a text to those in need, it’s great to know they can contact Mind for a comforting voice, a voice which is happy to listen.

I would like to thank all my friends, colleagues and clients who have already generously shown their support for this pledge and donated via my Just Giving page. The money raised from my sobriety will, in some small way, help towards keeping vital phone lines open.

Thank you for reading, Charlotte.

TPi https://www.justgiving.com/charlotte-Goodlass

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THE BIGGER PICTURE

THE BIGGER PICTURE THE SHOW MUST GO ON?

As the outdoor season approaches on this side of the equator, attention turns to the weather and its effect on our work. Forecasting is a complex business, and many rely on technology that lets them know what’s happening in the here and now, adding a little guesswork into the equation to try and decide whether things will get better or worse. Our friends at Weather Decision Technologies make that decision a little easier, with a global services that gives their clients the power to make better decisions. Here’s a story of their system at work: 25 April was just another average spring day in Jacksonville, Florida. Production crews began loading-in for a two-day music festival called Welcome to Rockville. Tickets were sold-out and expectations were high, when the news came that Mother Nature would also be making an unscheduled appearance...

Weather Decision Technologies, an industry leader in weather decision support, deployed a team of meteorologists, who worked throughout the night to prepare event specific planners for all of its customers with assets at risk. It seemed increasing likely that Welcome to Rockville would be faced with a variety of potential weather-related problems, which were expected to disrupt operations.

As pre-show preparations began, event organisers received their WDT-Weather Check alert from the team at WeatherOps, which consisted of an easy-to-read green, yellow and red alert advisory. For the Welcome to Rockville event, weather triggers prior to 2pm were indicating a yellow threat level throughout the day, which translated to the likely chance of adverse weather conditions. This prompted the staff to make the necessary preparations and shortly after 2pm the event specific weather triggers indicated a high risk for lightning inside an eight-mile radius, with winds between 30 40mph and up to ¾ inch hail, a truly dynamic weather event was approaching. The skies may have looked clear but there were mounting indications from the expert meteorologists that an actionable criteria was imminent.

As part of WDT’s service offerings forecasters established consistent communication with event organisers as the storm began to develop in the afternoon. This communication became vital as conditions deteriorated. The WeatherOps meteorologists provided actionable intelligence 72

directly to the event organisers, which were used to initiate an onsite evacuation and arrange shelter for concert-goers and staff. A tornado touched down just three miles south of the event site, allowing on-site decision makers just over 30 minutes of lead-time to make the right decisions and ensure public safety. Conditions over the event site were severe and the tornado had narrowly missed, but everyone on the site had been safely sheltered and as a result no reports of injuries were filed. Without the expert information being fed to the decision makers the outcome may have been different.

Once the threat had passed, the team at WDT issued an “all clear”. The venue staff and crew

completed the necessary safety checks of critical components, before advising the audience to reenter the festival, as the artists began to retake the stages. The show went on without incident and the fans were grateful that their wellbeing was a prime consideration during this potentially serious threat.

Looking back on the event, Festival Management Services Event Manager, Billy Langenstein, commented: “Although I’m certain the WDT team was managing many different events, every time we were in communication with their meteorologist Colby Goatley, there was a sense of urgency and care for our event when we spoke it felt like he was working solely

www.psa.org.uk for our festival. That type of personalised care and service is fantastic and irreplaceable.”

Colby Goatley holds a degree in meteorology from the University of Oklahoma, and has been with the WDT WeatherOps team for the last four concert seasons. Goatley, himself an avid concert-goer, has a great appreciation for the safety concerns and conditions behind the scenes, and understands what keeps event producers and production managers awake at night. Many of the promoters, artists, tours, and venues that are under the watchful eye of WDT invite the meteorological team to witness the entire evolution of the day to improve their on-the-ground awareness each client is facing.

Goatley noted: “When you’re in the front of the house as an audience member you may not realise that 16 semi’s worth of gear, a roofed temporary stage, and hundreds of people have helped bring that show to life.”

“We started with a decision matrix that I utilised to brief generals while serving in the United States Air Force,” said David VandenHeuvel, Senior Vice President at WDT. “A three-star General once told me that when the weather is clear stay out of my way, but when the weather is an exploitable asset I want you pulling on my sleeve and shouting in my ear.”

WDT tailored that forecast strategy to first fit high profile wind energy and utility businesses before modifying it to support the live event

space. VandenHeuval said: “Our toolset evolves every day, for instance, we are currently launching new mobile alert tools, and performing a seamless integration of our complete suite of services, into a robust mobile app, later this year. This step is a direct response to the feedback from our clients. One thing we know for sure is that no two events are the same and WDT is nimble enough to address the needs of each event independently.”

WDT is a founding supporter of the Event Safety Alliance and has provided critical input for the severe weather preparedness chapter in ESA’s Event Safety Guide. There is certainly no argument that safety and weather preparedness go hand in hand.

WDT has executed forecasts and alerting for over 20,000 event days and works worldwide with promoters, event producers, artists, tours, venues, and staging companies alike. WDT works closely with the US National Weather Service (NWS) to help stakeholders submit severe weather action plans to meet the criteria to become ‘Storm-Ready’ - a designation by the NWS that a group has an actionable weather safety plan and can execute it when required.

“WDT’s primary mission is to ensure that ticket holders, operational staff, and artists alike have expert, actionable and up-to-the-minute meteorological information to keep them safe

from adverse weather conditions. Secondly we work equally as hard providing the same level of expert information to allow the show to continue once the threat has passed our goal is to provide the ‘show-go’ information you require to be confident in your ability to execute a safe-from-weather event.” said VandenHeuvel.

“Communication is key, having our Oklahomabased meteorological team integrated into your safety protocol will help you be confident that the show can go on, unless of course, Mother Nature refuses to give up her seat.”

TPi http://wdtinc.com, www.psa.org.uk

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MOVERS & SHAKERS Sponsored by www.interfacio.com • +44 208 986 5002

MOVERS & SHAKERS MUSIC Group has announced its acquisition of TC Group, one of the largest groups in the professional audio industry. Headquartered in Denmark, with offices all over the world, TC Group owns and manages some of the most acclaimed audio brands in the world, such as Tannoy, Lab.gruppen, Lake, TC Electronics, TC Helicon and TC Applied Technologies.

MUSIC Group founder and CEO Uli Behringer commented: “MUSIC Group stands for relentless focus on innovation, business transformation and overall IP creation. Since the acquisition of Midas, Klark Teknik and Turbosound, we have been continuously pursuing brands that complement the mixing console, processing and loudspeaker excellence offered by these historic

OPERATIONS MANAGER TAIT Stage Technologies delivers outstanding engineering solutions to the entertainment industry. We design and install equipment and machinery for the world’s most prestigious venues and touring shows. From our European head office based in London, TAIT Stage Technologies supply equipment on hire and provide the crews to install and operate systems in corporate, theatre or concert contexts.

Are you looking for a job with variety where every day is different?

We need someone to lead the planning and implementation of these projects from inception to completion, including managing and maintaining the rental inventory. The Operations Manager will be responsible for working closely with clients (both internal and external) to provide innovative solutions; scheduling a dedicated team; monitoring project budgets; and planning the logistics and successful completion of these projects.

The ideal candidate will enjoy working with changing priorities in a fastpaced environment and be able to handle multiple projects simultaneously.

Proven cost management experience with time served in project management would be an advantage. Experience in a rental company, event or spectaculars environment would be an asset. You will ideally have a working understanding of entertainment technology, related equipment and services.

The Operations Manager position will be based at the London office in Neasden with occasional site visits in the UK and abroad when required.

Please send your CV, cover letter and package expectation to karen.stone@stagetech.com

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brands. Throughout our search, TC Group has clearly stood out as the ideal match because of their world-class brands, impressive intellectual property, sterling reputation and first-class team of people. I am very proud to welcome the TC Group into our family.”

Production Resource Group (PRG) has announced that it has acquired the XL Video

Mechanical and Civil Engineers TAIT Stage Technologies delivers outstanding engineering solutions to the entertainment industry, designing and installing equipment and machinery for the world’s most prestigious venues and touring shows across the globe. From our European head offices the company understands set and stage creation in its entirety, delivering creative solutions for iconic projects around the world Specializing in mechanical design and automated rigging, the TAIT group has supplied stage sets for the top ten grossing shows of all time, the engineering infrastructure for the biggest theatre show on earth, the mechanical mechanisms for the most recently opened attractions at the world’s leading, international amusement parks. We even partnered with NASA to put the lyrics of U2’s Beautiful Day into orbit.

If you are an experienced mechanical or civil engineer looking for a challenging and diverse career, designing high performance, reliable, and safety critical systems come and join our dynamic teams in Neasden (London) and Haverhill (Suffolk) and help us deliver our clients’ artistic vision to audiences across the globe.

You will be a degree qualified Chartered engineer or working towards Chartered status backed by a minimum of 6 years of post-qualification experience.

Ideally your experience will include static and dynamic analysis, structural design, cable systems and rope handling, mechanical power transmission systems, systems integration and test and hydraulic systems design.

Please send your CV, a cover letter and package expectation to www.stagetech.com/careers-stagetech

www.interfacio.com • +44 208 986 5002

MOVERS & SHAKERS

Opposite: Clear-Com has appointed Ann Williams as its new Director of Sales Asia Pacific; Ed Stott has been named as the Head of Commercial Development for Gallowglass Group; Midwich Managing Director, Stephen Fenby; PSCo Group Managing Director Stuart Holmes.

Group, one of the largest providers of premier, multi-market video services. PRG Chairman & CEO Jeremiah J. Harris and Lucas Covers, the Group CEO of XL Video jointly made the announcement.

XL Video, founded in 1995, has established itself as leading video services supplier around the world. The company is a multiaward winning provider of creative video solutions for concert touring, corporate events, exhibitions, automotive, television, sports, and theatre. Like PRG, XL Video provides creative designers and producers with full technical support in putting together cutting-edge video solutions for some of the most innovative and aesthetically daring shows in the world.

For PRG’s worldwide clients, this acquisition expands their access to the wide range of creative video technology and services that they already enjoy, whilst also continuing to be confident in the quality of products, production expertise, and professionalism, when integrating video into their productions and events.

“By combining XL Video with PRG, we are creating a tremendously valuable resource for event and entertainment producers anywhere in the world”, said PRG’s Harris. “The integrated company will be able to offer an exceptional breadth of production technologies and depth of industry expertise.”

Nexo has announced that London-based Orbital Sound will become its full-service main dealer and approved rental partner for Nexo sound reinforcement technology in the UK, adding indemand systems such as the STM Series and GEO M6 to its hire stock. The appointment of Orbital as Nexo’s UK main fealer, offering sales, installation, rental and service, is a key stage in the company’s ongoing process of restructuring and refining its sales channels in the UK. “The addition of a company like Orbital, with its heavyweight status, has allowed us to rebalance the Nexo network and consolidate our pricing, all to the advantage of the customer,” explained Gareth Collyer, Nexo’s UK Sales Manager.

With an international reputation in theatrical circles, Orbital is expected to play a vital role in bringing Nexo’s latest system designs to

high-profile entertainment events.

“The addition of Orbital to the Nexo team is of very high value,” commented Collyer on behalf of the French manufacturer. “It’s been several years since we had a substantial rental partner in the UK; and we believe that Orbital has the right connections to bring Nexo to a new generation of sound designers, engineers and customers. We’re looking forward to a long-term partnership, on which both our companies will thrive.”

Nexo has also announced the appointment of Alain Boone to the position of European Sales Director. Working closely with Sales Director Denis Baudier, he will manage Nexo’s extensive network of distribution partnerships to complement the company’s subsidiary sales operations in France, Germany, UK and Italy.

Clear-Com has appointed Ann Williams as its new Director of Sales Asia Pacific, effective immediately.

In addition to the Southeast Asia region, Williams will have supervisory responsibility for the China and India markets as well as Japan, Korean, Australia, and New Zealand. “Asia-Pacific remains a strategically important region with considerable opportunities for growth,” said Bob Boster, President of Clear-Com. Renkus-Heinz has announced the appointment of Audio Link as the company’s new distribution partner in Italy. Founded in 1984, Audio Link has been one of Italy’s leading pro audio and lighting providers for more than 30 years.

The company’s reach extends from radio and television, recording and post-production, to government, education, worship, and live sound, including such landmark projects as Milan’s Teatro alla Scala and the Pontifical University of Bioethics in Rome, as well as high-profile tours with Jovanotti, Gianni Morandi, and Claudio Baglioni.

HHB Canada has announced the exclusive distribution of Adam Audio in Canada, effective immediately. Adam Audio is represented worldwide through a network of subsidiaries, distributors and dealers in over 70 countries, and a growing number of the world’s most prestigious studios, broadcasters and postproduction facilities own and use

Adam monitors. Ferdinand von Wrede, Managing Director of Adam Audio said: “We are pleased to announce our partnership with HHB Canada. Together we hope to grow substantially in the Canadian market and provide the best possible support for our customers and end-users.” HHB Communications Canada is one of the top distributors of professional audio products in Canada. Dave Dysart, HHB Canada’s President, commented on the appointment: “I have always been very impressed with the quality of Adam Audio, and we look forward to increasing the sales and market awareness of this great brand in the Canadian marketplace.”

Pioneer Pro Audio has announced a restructure, which will place greater levels of responsibility on its new EMEA headquarters in West London. A consequent expansion of the team has seen Dorine Lagersie (channel marketing) and Mary Jong (events,

exhibitions and sponsorships) take up Marketing Executive positions, whilst Ben Owen fills the role of Marketing Co-ordinator. Keleigh Batchelor has been promoted to Marketing Executive responsible for PR, advertising and creative.

Overseeing the team is Tania Lee who has been promoted to Marketing Manager. has announced Midwich its acquisition of PSCo Group.

Managing Director of PSCo, Stuart Holmes commented: “This exciting move allows PSCo to focus on the areas where we believe we truly add value to our trade partners.” Whilst Stephen Fenby, Managing Director of Midwich added: “The acquisition of PSCo supports two of our key strategic objectives - to provide outstanding value-added support to our customers and vendors, and to continue the rapid growth of our display solutions business.”

TPi www.tpimagazine.com/jobs/

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VITAL STATS

VITAL STATS 170 IN PARTNERSHIP WITH

Keely Myers Profession: Touring Concert Producer and Tour Management Date & place of birth: London, 19 March 1981 How did you initially get involved in the business of live production?

From a young age, I’d set my heart on working in the music industry in some shape or form.

My mother had worked for NEMS Booking Agency and for Marc Bolan as his PA. Through her connections I spent a few summer holidays doing work experience in different areas including management and PR. When I reached the age of 18 and finished sixth form I got my first real break working for legendary promoter Harvey Goldsmith on the Total Eclipse Festival. This resulted in my first full-time job for three years at GLD Productions (backstage furniture and specialist events). I then met Chris Vaughan and we formed The Production Office (TPO). Together we’ve produced a multitude of concert tours and large scale music events for over a decade.

“the responsibility of dealing with budgets and overseeing all the elements of a touring concert or event rest on your shoulders - so they’d better be broad...”

How do you feel the industry has changed during that time?

There’s no denying that as technology keeps evolving, the world of concert touring is changing with it. I have seen huge leaps and bounds in video, lighting, rigging, special effects, sound and staging, generally making it more accessible for every scale of project to produce high-end events and create those ‘wow’ moments.

Although it seems the recording side of the music industry has taken somewhat of a hit, as people digitally share songs, albums and DVDs etc over the internet, the live side still remains strong, and this is where most artistes will look to make their main income. In turn, budgets have tightened which means as a producer you need to come up with innovative ideas to deliver the show that a manager, artist, and their respective audience desire.

Were you ever under the wing of a mentor - unofficial or otherwise?

I’ve had the good fortune to work with many unofficial mentors who are experts in their fields and have absorbed their various skills to mesh into my own style over the years. Chris Vaughan, who in my opinion is one of the world’s best production managers, has played a big part in my working career as our collective track-record in TPO shows, but more importantly, I’ve always enjoyed working with him.

As MD of The Production Office, what would you pin point as the key skills you use on a daily basis?

For me, keeping a calm and collected head is imperative when running a company and juggling a few different projects simultaneously. Organisation is very important, as is managing the various different groups I’ll interact with on a day-to-day basis such as managers, artists / performers, record 78

labels, suppliers and crew, all of whom - including myself - expect to do so to the highest standards. Efficiency and focus is critical, after all the responsibility of dealing with budgets and overseeing all the elements of a touring concert or event from its concept to finished product rest on your shoulders - so they’d better be broad!

There’s a lot of talk of apprenticeships at the moment, looking back on your own career, what advice would you give the next generation?

From my own personal experience, I would say get yourself out there and participate in any and all areas is key, trying out different jobs within the music field and be keen, willing, hard working and upbeat.

Of course there are educational courses that can be taken to help along the way, but nothing will beat being present within the mechanics of an event or project and gaining a first hand understanding of how things operate in this industry.

You picked up the TPi Award for Live Production of the Year on behalf of The KT Fellowship: Before the Dawn. That must have been a proud moment?

Yes, very much so. I’ve always admired Kate Bush and her work, so to then get the opportunity to produce her show in the role of Production Director, well it doesn’t get much better than that. I worked on Before the Dawn for over a year (keeping it under wraps!) and on a personal level it was an amazing experience, one I will always cherish.

Where can we expect to see more of your productions over the course of the summer?

I am currently on tour with Take That’s UK and Ireland Tour which finishes at the end of June, but there’s a new chapter on the horizon for me which I’m very excited about. Stay tuned!

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07/05/2015 14:24:12