TPi September 2017 - #217

TOTAL PRODUCTION INTERNATIONAL LIVE EVENT DESIGN & TECHNOLOGY • SEPTEMBER 2017 • ISSUE 217

SECRET GARDEN PARTY PUSHING BOUTIQUE PRODUCTION TO THE LIMIT

A SENSELESS ACT OF BEAUTY…

BLINK-182 LIVE FROM LONDON • RADIOHEAD’S NEW LOOK TOUR • BLUEDOT TRANSMITS FROM JODRELL BANK • FESTIVAL FOCUS • GLASTONBURY HIGHLIGHTS PART 2 • BST HYDE PARK

SEPTEMBER 2017 #217

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EDITOR’S LETTER

D8PLUS STAGE OPERATOR

As you many have noticed, we’ve officially launched the TPi Awards 2018, and announced the date as 26 February. I’m very excited (as my high-pitched tones may have let on if we’ve spoken lately), as this is not only our 17th TPi Awards, but it also marks TPi Magazine’s 20th birthday party! This means gin AND cake. Please check out the new look website - www.tpiawards.com - and stay tuned for nomination openings.

I’m pleased to announce that, although we’re inducting both the Favourite Venue and the Favourite Security Company awards into our Hall of Fame, we’ve added some exciting prospects with our 2 new awards; Backline Tech of the Year and Sound System Designer of the Year.

In this issue, we also bid a fond farewell to our cover star, and the burning heart of Secret Garden Party (SGP), one of the UK’s best-loved boutique festivals. I attended the event with Funktion-One’s (and ex Mondialer!) Michael Nicholson (not pictured, in case you were wondering).

Thanks for a blinding weekend mate. We still don’t know how I acquired the media above, or what it was in aid of, but I’m happy I woke up wearing it as a momento of the truly brilliant festival it was. We went big, and then we went home! Read the story on Pg.08.

On the opposite end of the scale - the huge task that was Tomorrowland in Belgium and part 2 of our Glastonbury coverage, not to mention the new show designs seen on blink-182 and Radiohead’s recent tours and a look at the sound desk support that goes into Montreux Jazz Festival, North Sea Jazz and Summerfest.

Until next time, I’ll leave you to book tickets and plan your TPi Awards outfits!

Kel Murray Editor

EDITOR Kel Murray Tel: +44 (0)161 476 8360 Mobile: +44 (0)7738 154689 e-mail: k.murray@mondiale.co.uk

CHIEF EXECUTIVE Justin Gawne Tel: +44 (0)161 476 8360 Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk

ASSISTANT EDITOR Ste Durham Tel: +44 (0)161 476 8385 Mobile: +44 (0)7891 679742 e-mail: s.durham@mondiale.co.uk

GRAPHIC DESIGN & PRODUCTION Dan Seaton: d.seaton@mondiale.co.uk Zoe Willcox: z.willcox@mondiale.co.uk

STAFF WRITER Stewart Hume Tel: +44 (0)161 476 8385 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk ADVERTISING SALES Georgia Guthrie Tel: +44 (0)161 476 8399 Mobile: +44 (0)7501 597837 e-mail: g.guthrie@mondiale.co.uk ADVERTISING SALES Lauren Dyson Tel: +44 (0)161 476 8360 Mobile: +44 (0)7415 773639 e-mail: l.dyson@mondiale.co.uk GENERAL MANAGER - TPi MAGAZINE & AWARDS Hannah Eakins Tel: +44 (0)161 476 8360 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk Issue 217 - September 2017

ACCOUNTS Lynette Levi / Sarah Miller: ar@mondiale.co.uk MONDIALE GROUP CHAIRMAN Damian Walsh

• For Chain Hoists in Direct Control or Low-Voltage-Control • Linkable Motor Distributions Network-based • Integrated Sofware for System Configuration • Password Management • Load-Measuring with Group-Switch-Off Function • Import of Hall Drawings • Intergated Manual Mode • Touchscreen Remotes up to 17” available • Radio Remote Controls available CHAIN HOISTS • CONTROL SYSTEMS • SOLUTIONS

COVER DESIGN Secret Garden Party by Danny North of Fanatic Live EDITORIAL INTERN Denitsa Nikolova PRINTED BY Buxton Press • www.buxpress.co.uk Annual subscriptions (including P&P): £42 (UK), £60 (Europe), £78/$125 (RoW).

Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK. Tel: +44 (0)161 476 5580 Fax: +44 (0)161 476 0456 e-mail: subscriptions@mondiale.co.uk www.tpimagazine.com www.tpiawards.com www.tpmeamagazine.com

TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence.

ISSN 1461-3786 Copyright © 2017 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 2017 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.

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EVENT FOCUS 08 Secret Garden Party

The festival’s Funktion-One rental

partners wish a fond fairwell to the

independent woodland dance party.

16 Armin van Buuren

Green Hippo’s Hippotizer played a key

role in the the DJ’s biggest ever show.

32

18 DiGiCo’s Festival Hattrick

TPi goes backstage at Montreux Jazz

Festival, North Sea Jazz and Summerfest.

28 Leisuretec

The turnkey distributor opens the

TecZone for an Avolites training session.

30

British Summer Time Martin Audio and Capital Sound celebrate their fifth year at Hyde Park.

PRODUCTION PROFILE

44

56

32

Radiohead Ste catches the band mid-way through a packed summer schedule and learns the secrets behind their latest show.

44

56

blink-182 Stew travels to London’s O2 to check out the punk rockers’ arena tour and fresh live aesthetic.

62

Glastonbury 2017: Highlights Part 2 Before the famous festival takes a year off, we bring you the second instalment of technological and creative insights.

bluedot Kel lands at Jodrell Bank for the ultimate mix of science, music and art for the festival’s second year.

PRODUCTION FUTURES 84

TPi speaks to d3 Technologies’ latest recruit, Jamie Sunter, about his first 8 months in the industry.

FESTIVAL FOCUS 86

62

This month’s edition includes coverage of Tomorrowland, MIF, Sonic Boom Festival and many more...

GEAR HEADS 102 Visual Productions’ Managing Director,

Maarten Engels, talks to TPi about TimeCore.

PSA: THE BIGGER PICTURE 104 The PSA has vastly improved the

insurance landscape for its members.

Andy Lenthall sets the record straight.

INDUSTRY APPOINTMENTS 106 The latest movers and shakers.

86

BACK CHAT 110 Managing Director of CODA Audio USA,

Luke Jenks, takes the hot seat.

EVENT FOCUS

SECRET GARDEN PARTY

SECRET GARDEN PARTY: 13 YEARS OF WOODLAND ADVENTURE This summer, after 13 years of fun, founder and ‘Head Gardener’ Freddie Fellowes called time on one of the UK’s best loved festivals: Secret Garden Party (SGP). A trailblazer of the boutique festival scene, SGP grew from a small gathering of 500 into a giant bubble of brand-free, independent inclusivity; a community of all-encompassing, come-as-you-want-to-be fun. TPi speaks to some of the key audio team who deploy the festival’s Funktion-One sound systems about the event’s success and fond farewell.

Over the years, SGP had become something of an open ‘secret’, steadily growing in size as word spread - its final instalment drawing a crowd of over 30,000 to say goodbye in style. Despite this, the event managed to retain its spirit of playful adventure. For attendees – appointed ‘Gardeners’ for the week and sent forth to cultivate fun – this was a gateway to a shindig of Gatsbyan proportions, but on a perennially intimate scale; a party where eccentric pleasures were encouraged and enabled by a selection of weird and wonderful spaces with equally weird and wonderful names; pockets filled with magic, mud wrestling (optional) and, of course, music.

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By their final year, the SGP crew had become masters of maximising sensory stimulation - including, in the case of audio, the use of a FunktionOne system on 11 stages and event spaces across the site, courtesy of two suppliers: Audio Feed and Vortex Events.

For Audio Feed, the SGP connection runs deep. MD Oz Jefferies attended the very first Party back in 2004 and in 2009 started supplying sound. “Since then the SGP crew have become like a family to me and the Audio Feed team,” he said. “Built on passion and creativity they’ve strived (and succeeded) to change the festival circuit in the UK with their unique and entertaining approach to customer immersion of fun. We started out

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supplying the Lake Stage bringing the first ever Funktion-One sound system to SGP. Over the years we have grown that up to 9 systems across the site, including live and dance music stages.”

The Lake Stage was perhaps the most iconic of the festival’s spaces.

A floating raft accessible only by rowboat, each year it took on a different design; often reflecting the theme of that year’s event. As well as providing a novel destination for Gardeners to (literally) bob to some quality tunes, it also formed the centrepiece of the party’s main celebrations with its ritual destruction in a blaze of pyrotechnical glory.

As with the previous three years, the Lake Stage featured two FunktionOne Res 4 mid/tops and two F218 mk2 bass units, complete with MC2 amplifiers and Funktion-One processing.

“The Lake Stage has always been very special for us as it’s such a beautiful location for a stage floating peacefully in the heart of the festival, and a very unique place to create a party,” said Jefferies. “There is something very exciting about rowing Funktion-One speakers out into the middle of a lake in the beautiful Cambridgeshire countryside, before they dramatically explode the stage for the spectacle on Saturday night. Don’t worry; we take the speakers off before the explosion.”

Since its SGP mid-lake introduction in 2009, Funktion-One’s proven performance has made it an essential part of the festival’s audio landscape.

“Funktion-One brings that extra clarity that it’s famous for,” noted Jefferies.

“It reproduces dance and live music seamlessly and effortlessly. Secret Garden Party was founded on creativity, but they have recognised over the years the importance of good audio and given us the means to bring only the best standards to their event.”

The truth of this could be seen across the festival site. Back on shore, for example, the Cocktail Bar served up the perfect mix of drinks and tunes, aided by a DJ set-up that incorporated 2 Funktion-One Res 1’s and two F1128 mk2’s. More drinks - this time with a twist of cabaret and kink - were on offer in the Little Gay Brother Bar where the sound system featured 2 Res 4T’s and 4 F121 bass enclosures.

Over on the Dance Off stage, Funktion-One had ringside seats to SGP’s annual battle of the body-moves. A procession of punters took to the checkerboard-floored boxing ring to strut their stuff. Beats were provided by a quadraphonic speaker stack set up comprising 4 Evo 6EH’s, 4 F215 Mk2’s and 8 F121 bass enclosures.

Rejuvenation for the mind, body and soul was on offer in the Spirituality Playground. As the daytime dog shows and naked catwalks gave way to wild night-time parties, 2 Res 2 full range cabinets, 4 F121 bass enclosures and 8 F101 infill monitors delivered the audio entertainment.

For 2017, The Drop stage had been reimagined as a steam-powered industrial arena, guarded by a robotic flame-throwing sentinel. A techno-/ house-heavy mix of the best dance music washed the crowd, courtesy of 8 Evo 6E mid tops, 12 F121 bass enclosures and 2 F101 infill monitors.

Completing Audio Feed’s Funktion-One roll call were the Duff Camp (with its 2 F1201s and a BR118) and the Maya Jane Coles Party Tent (using a F1202 full range speaker).

“Setting up PA equipment designed for nightclubs in the countryside certainly has its challenges,” remarked Jefferies. “The key is an experienced, hard working team that works well together, which we are lucky enough to have. The festival has always supported us through the challenges involved 10

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and treated us all as an integral part of the SGP family.”

This extended family also includes MC2 and XTA, whose amps were used throughout the festival site. “We’ve continued to have great support from MC2 and XTA,” said Jefferies. “Richard Fleming from XTA always attends to make sure everything runs perfectly, although I think this is an excuse as nothing ever goes wrong but he feels quite at home there.”

XTA/MC2’s Richard Fleming added: “I’ve been attending SGP for more than five years. Audio Feed has handled multiple stages each year and this year was no exception. It was great to see a combination of XTA APA amplifiers and the new MC2 Delta amps deployed across the site, plus it was a perfect opportunity to hang out with the Audiofeed crew in the glorious sunshine.” Funktion-One around the rest of the site was provided

by Vortex Events.

Set on the shore of the site’s sizable lake, the Pagoda Stage was one such location. For the first year, 8 Funktion-One V124 were used to handle the majority of the low end. According to Vortex Events’ Iain Rendle, they proved a powerful addition. “I am really impressed with these boxes the new loudspeaker driver Funktion-One has developed delivers some serious power generated from its double stacked voice coil and magnet arrangement,” Rendle said. “We run all of our Funktion-one speakers on Full Fat Audio (FFA) amplifiers, and the combination of this bass bin and the FFA-10000 is perfect. This provides a deep affirmative bass tone with plenty of headroom and - if I am honest - we never dared to take them close to their full output level.” The mid bass was covered with F215 Mk2’s and the tops with Evo 7EHs. NST processing was used across all Vortex’s Funktion-One systems, which gave them all the audio processing tools required to fully co-operate with the sound control team and meet their SPL targets throughout the week.

NST Audio’s Dan Cartman said: “I think everyone using either NST or FFA

DSP - which is an NST ID48 OEM - was using the D-Net control software on the iPad - or FATWARE which is the FFA version - for setup and monitoring their systems. Our users love being able to wander out into the audience area with an iPad and tune their system. It’s ideal for these kinds of stages where you haven’t got a FOH position.”

The Lost Woods stage - a discrete outpost, framed in a tangle of knotted branches - saw extensive use of the Funktion-One BR121. “This was an absolute must due to its location on the edge of site, and we needed to take advantage of the comparably shorter throw (compared to that of the horn loaded equivalent F121’s),” said Rendle. “Once again, this is a truly great box and can be used to great effect outdoors.” A total of 18 BR121’s were used across 5 stacks in a near circular 30m dance arena. In this arrangement, the team were able to take full advantage of some of the cancellation characteristics associated with this configuration, whilst also managing to provide excellent coverage. The mid bass was delivered through 9 F215mk2 and a combination of 4 Evo 7EH’s for the front stacks, and 6 AX88’s (“a personal favourite of mine,” noted Rendle) were deployed on the rear stacks on large truss towers.

Despite being hidden down a discrete path towards the edge of the site, The Labyrinth was nonetheless an incredibly popular stage, playing host to an estimated 500 people at peak points. Here Funktion-One Evo 7 and Evo 7EH were deployed, along with F215 mk2 and F121 bass enclosures. “This is a great combination of Funktion-One loud speakers,” said Rendle. “We’ve used this type of configuration a lot over many festivals and events as it’s very easy to tune; you can achieve very predictable results with plenty head room and low distortion characteristics. The 10-inch mid driver seen in all the Evo range top boxes provides a very thick warm sound and the large HF horn gives great clarity and cohesion to its 10-inch counterpart.”

The smallest stage supplied by Vortex was the Jackdaw bar - a 24-hour bar complete with stage for bands and DJ setup. The 300-capacity, 30m 12

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SECRET GARDEN PARTY

Some of the Audio Feed crew; XTA’s Rich Flemming with TPi’s Kel Murray; Full Fat Audio’s Dave Millard; Funktion-One’s Mike Nicholson with Audio Feed’s Oz Jefferies.

x 15m tent needed to have a well-distributed system that could keep a to me that when they have worked there it’s felt like a really tight family of consistent audio level and minimise influence on off-site noise limits. To crew, and have always been privileged to be a part of it,” he explained. “Of achieve this, Vortex turned (for the third year) to a tried and tested system: course, we are sad to see it go, but are thankful for the influence it’s had on 8 Funktion-One F1201’s with 2 BR218’s. us and the dramatic influence it’s had on the UK festival circuit.”

As this year’s event came to an end and the SGP speaker systems fell It’s, one suspects, precisely this legendary purity of spirit that silent for the last time, the consensus among crew and crowd alike was Fellowes aims to preserve by calling time on SGP now. With the party’s that 2017 had been a fond farewell. “It is very ever expanding popularity beginning to test sad to see that this really was the last Secret its boutique-festival status to the limit, this Garden Party ever,” said Rendle. “It’s been a true “senseless act of beauty” (as he describes the pleasure to work with such a brilliant production move) means everyone involved can leave on a team who share our passion for really pushing high, while the sweet taste of a happy success production values as high as possible. Not still lingers. But, as Fellowes hints in his farewell only have we at Vortex successfully achieved statement, there may yet be more to come this, but it’s become a defining attribute of the from the SGP team: “Think of it more as ‘Dylan festival itself: everything from sound, to light, goes electric’ than our Altamont,” he said. “So, to video production has consistently exceeded watch this space for the phoenix rising from the expectations year on year.” ashes...”

It’s a sentiment shared by Jefferies. “Audio TPi Feed started with the support of Secret Garden Photos: http://www.fanaticcreative.com Party,” he said. “Jo Vidler one of the original Danny North, Jenna Foxton, Andrew Whitton, founders and James Brennan the Technical Carolna Faruolo, Giles Smith, Max Miechowski, “It’s been a true pleasure to work Production Manager took faith in us to provide Justine Trickett the dance music systems across site. Our www.secretgardenparty.com with such a brilliant production company wouldn’t be what it is today without www.funktion-one.com team who share our passion for them.” www.vortexhire.co.uk In addition to this, Jefferies continued, the www.audio-feed.co.uk really pushing production values inclusive spirit of SGP extended far beyond the www.audiocore.co.uk as high as possible.” paying public; it permeated every level of the www.nstaudio.com Vortex Events’ Iain Rendle production process. “Many people have said www.fullfataudio.com 14

EVENT FOCUS

ARMIN VAN BUUREN’S VISUAL SPECTACULAR TOUR FINALE DJ Armin van Buuren played two solo shows at the Amsterdam ArenA and Dutch lighting creative Art of Light relied on a Hippotizer Karst Media Server to control a series of LED setups during the show.

Closing his latest Armin Only performance concept at the Amsterdam The Art of Light, the Netherlands based creative company, took care ArenA, with the biggest show that he has ever done, Armin van Buuren of lighting design, operating and controlling the two sold-out ArenA gigs. became the first DJ to stage a solo show at Responsible for the production of the event the famous venue - also home to AFC Ajax. was ALDA Events, a global operating Dutch The Armin Only show debuted in 2005 and the producer, concept developer and promoter of latest edition is bigger than ever, letting the international DJ and event concepts. Creating a “For this show we used our Dutch DJ play longer sets while also exploring spectacular to 35,000 people, company founder his artistic side.

André Beekmans and his team harnessed an Hippotizer Karst Media Server as So, while Armin Only enabled van Buuren to epic collection of lighting. main server and the Hippotizer deliver a mammoth set, fans get more than just

There were over 900 Robe moving lights the Dutchman standing behind his decks. The to help achieve their imaginative goals which Portamus as a backup to ensure DJ was joined by an arsenal of musicians and were delivered by lighting contractors Focus that we cover all the bases.” singers that helped him bring his music to the Amsterdam B.V. and Rent-All. André Beekmans, next level, creating an immersive atmosphere

The breakdown included 200 BMFL of music and AV. Spots, 112 BMFL WashBeams, 186 Pointes, 180 Founder, The Art of Light 16

ARMIN VAN BUUREN

Below: Michael Seeverens and André Beekmans.

LEDBeam 100s and 231 Spiiders and was one of the largest ever Robe lighting rigs for a single artist show.

Controlling and mapping the LED strips was The Art of Light’s Hippotizer Karst Media Server.

The result was a visual experience that moved seamlessly from massive trance and dance sessions to more understated displays by van Buuren’s guest performers.

Beekmans commented: “I’d been looking for a while at the best way to control a lot of RGB pixels and I ended up buying the first Hippotizer Media Server, which was a Karst. When Green Hippo released the Hippotizer Portamus, I immediately ordered one, and we now have two. We mainly use our Hippotizers for controlling RGB pixels in combination with a MA Lighting grandMA2. For this show we used our Hippotizer Karst Media Server as main server and the Hippotizer Portamus as a backup to ensure that we cover all the bases – especially with a live broadcast going out on Dutch television and as a web stream!’’

TPi Photos: Jorrit Lousberg www.arminvanbuuren.com www.robe.cz www.focusamsterdam.com www.theartoflight.nl www.rentall.eu/en/

17

EVENT FOCUS

When one of the UK’s most sought-after digital console manufacturers, DiGiCo, began supporting sound engineers in an on-site capacity for the duration of the high-profile Montreux Jazz Festival (MJF), for which it’s an audio partner, not only did it set the precedent for the personal end-user interaction it’s become synonymous with, but it carved the way for on-hand product support, worldwide. TPi goes backstage at MJF in Switzerland, North Sea Jazz in the Netherlands and North America’s Summerfest to talk to product specialists and mix engineers working in unison.

Set in the glorious backdrop of the Swiss / French mountains & lake shores, TPi is no stranger to MJF - tough trip, we know. But, as the festival’s audio partnership with DiGiCo will reach its 10th year in 2018, we asked Product Specialist Dave Bigg how the manufacturer uses its time by the lakeside to cater to the needs of touring sound engineers. Bigg began: “This was my 7th year working at MJF, and in that time it’s changed a lot. In the early days, we had more staff on site as there was a much greater demand for our time, but on the whole, engineers are now very familiar with our products and tend to need us far less . Although we had provided training to the MJF sound teams prior to the festival, it always takes a bit of time for a console to become second nature. In those days, a fair bit of my time was spent assisting the festival’s brillaint sound teams, but they have been very consistent and after the first couple of events with us, knew our desks inside out.

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Lukas Graham’s FOH Engineer, Frank Grønbæk; DiGiCo’s Dave Bigg and Fernando Delgado

“We also provided training for any visiting crews who were using the house consoles, either to build sessions with them or to explain what all the buttons were for; some of whom may have never used a DiGiCo desk.”

The schedule for MJF generally allowed the DiGiCo staff to spend plenty of time with each crewmember as they get comfortable with the consoles These days, you’ll find a DiGiCo desk in every venue across the festival site, and when presented with the option, curiosity often leads engineers to try the desk for the first time... Bigg continued: “I remember a couple of a years ago, a band was touring a different manufacturer’s console as part of their control package and when the FOH engineer saw that the house console was an SD7, he wanted to use it instead. So we put his console back on the truck and started creating his session! The biggest change we have seen over the last few years is that now the visiting consoles are often DiGiCo to start with!” he smiled.

At MJF, the on-site support for the duration of the 3-week festival is split roughly 50/50 between Bigg and colleague Fernando Delgado.

Bigg arrives a couple of days before the festival starts and stays until the middle weekend when the tech baton is passed to Delgado until the finale. Throughout, DiGiCo’s Swiss distributor, Tonspur, plays a vital role in ensuring that the support of the festival is top notch. Bigg continued: “Tonspur act as local liaison during the run up to the festival, discussing any requirements as well doing a logistical magic trick by corralling all of the equipment into the multivenue site and deploying it where needed. They also have a physical presence on site in the form of either Eddy Broquet or Hansjurg Meyer and once the festival is running, they have the opportunity to bring existing or potential new clients and end-users here.”

Additionally, Tonspur provides technical tours for several of the local college students.

“I personally try and meet as many of the visiting engineers as I can,” stated Bigg. “Either to make new friends if I don’t already know them, or if they’re not using one of our consoles, to find out why they’ve made their choice. A desk choice is very personal and people always have varying opnions on what they like. For those who do use DiGiCo, I see if we can answer any questions and provide training. We also convert sessions that have been advanced so that the crew can work with the venue’s I/O configuration.

“We have an office within the main festival building where we have consoles set up for session prep and training. This year we had an SD12 and the new 32-Bit Stadius Mic Preamp setup so that engineers could experience the evolution of the product and hear for the difference for themselves.”

Across 14 locations and venues, the rigs on offer comprised 2 SD7’s, 2 SD5’s, an SD10, an SD8, 4 SD12’s, an SD9, 4 SD11’s, 5 S21’s, an S31, 9 SDRacks, 3 D2 Racks, 5 D-Racks, 3 DiGiGrid MGBs, and 8 Waves SoundGrid Servers and nearly 3,000m of fibre and BNC. The Stravinsky Hall, often thought of as the main venue, hosted the 2 SD7s, The Jazz Lab had an SD5 and SD10 on offer and The Jazz Club, which showed 2 SD12s, all had both FOH and monitor systems in place. These three are also the only venues that can accommodate guest consoles; across all other stages it’s a fullyfledged DiGiCo affair.

Keen to get the opinion of an engineer who was new to both DiGiCo and the MJF experience, TPi spoke to Monitor Engineer Rob Heilig (Sampha) about his experience. “With this being my first year taking out a DiGiCo console on tour, having tech support on site at a couple of the festivals we’ve performed at has been invaluable. I’ve chosen to work with the new SD12 console following a brilliant training session at DiGiCo’s HQ - with Fernando - and it’s a decision I’m very pleased with. Being able to take my show file to the comapny I’ve chosen to use, find better ways not only to run my gig but to then immediately implement any clever changes too, has made a huge difference to how I approach my tours. Artist expectations can be demanding, and having the support from DiGiCo has made mixing these shows a joy. Seeing Fernando at MJF was a great, freindly addition too!”

TPi www.montreuxjazz.com www.tonspur.ch www.digico.biz 20

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DIGICO’S FESTIVAL HATTRICK

Following on from the success of festivals such as MJF, DiGiCo has also begun to roll out its tech support infrastructure at Holland’s North Sea Jazz festival. For the second year running, the desk maestros, together with Ducth distributor (and DiGiCo’s biggest rental client in Holland), Ampco Flashlight, have been on-hand to help any and all queries. Across the festival’s 15 stages / locations, DiGiCo SD7s,SD8s, SD9s, SD10s, SD11s and S31’s are deployed in the venues which range from the 250 capacity Codarts Talent Stage, to the 10,000 capacity Maas Hall. The 2017 festival line up using these consoles included Joss Stone, Usher & The Roots, George Benson, Gladys Knight, Mary J Blige, De La Soul and Solange Knowles to name but a few.

As with the MJF format, a preproom & DiGiCo support office could also be found at North Sea Jazz. The festival’s sound rental partner, Ampco Flashlight Rental and Dutch DiGiCo distributor, Ampco Flashlight Sales worked in unison with DiGiCo’s UK team to fulfil the sizeable requirements in close cooperation with the festival’s production company, MOJO. A few weeks before the festival took place, the visiting engineers and touring productions received a letter that detailed how to download offline software from DiGiCo. The session could then either be checked, or made on site with the support teams.

There was also the chance for engineers to learn about the new consoles from the S series, and especially the popular SD12 desk. The prep All Access_LSI_oct2016.pdf

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room team offered a wealth of experience from Bart van der Smissen of Ampco Flashlight Sales, Peter Velthuizen from Ampco Flashlight Rental (also a leading Dutch engineer and show designer specialist) and Jaap Pronk, DiGiCo’s Sales Product specialist in the region.

Pronk told TPi: “We had some very positive reactions on the new 32-Bit Ultimate John Stadius Mic Preamp card, the SD12 and the S31 consoles.

We placed a guestbook in the prep room in order to get some feedback from these worldwide engineers and we loved reading the messages of appreciation! Gladys Knight’s sound engineer had never mixed on a DiGiCo desk before, and he was very happy with the outcome; building that integral family bond with engineers is vital. We also had engineers visiting the show with different console brands trying out what our desks could do with their show file, so I think we’ve had a very successful second year at North Sea Jazz!”

TPi www.northseajazz.com www.digico.biz www.ampco-flashlight.nl

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With nearly 900,000 music fans flocking to Milwaukee’s Henry W. Maier their reliability has been absolutely rock-solid, and the service and support Festival Park on 75 acres of Lake Michigan shoreline, Summerfest has we’ve received from DiGiCo’s distributor, Group One, has been second to unquestionably earned its nickname as the ‘Big Gig’. Showcasing more none.” than 800 national and regional acts performing on 11 stages from noon Summerfest Music Festival Production Manager, Steve Vallee, agreed: to midnight each day, this year’s festivities marked two milestones: first, “I have used Clearwing Productions on many large-scale events over the 2017 is Summerfest’s 50th anniversary festival; and second, this is the years, including Summerfest and the Harley Davidson Anniversaries. I don’t first year that DiGiCo mixing consoles have been used on every single really even look at them as a contractor, but rather as a trusted partner stage throughout the park. in producing my events. Same goes with DiGiCo as an equipment vendor.

Milwaukee and Phoenix-based Clearwing Productions, Summerfest’s Each year, Matt Larson and his team from Group One have gone to great exclusive audio provider, is currently deploying 6 of DiGiCo’s newest SD12 lengths to ensure that all of our shows are nothing less than flawless from consoles on both the FOH and monitor positions of the Uline Warehouse a technical perspective, truly going the extra mile to support our touring and U.S. Cellular Connection stages, as well as for monitors at the Briggs engineers on-site. & Stratton Big Backyard and Harley-Davidson Roadhouse stages. Beyond “So when Gregg and Bryan [Baumgardner, audio operations/logistics] that, the festival’s seven other performance venues are relying on an at Clearwing suggested that we exclusively use their consoles this year, I assortment of DiGiCo SD5, SD10, SD9, SD8, SD11 and S21 desks, all paired had zero hesitation in saying yes. I can and have used some of the largest with an appropriate match of SD-, D- and D2-Racks. production companies and equipment vendors in the world; however, I The 50th anniversary of Summerfest also notably marks the first have never been as satisfied with anyone as much I have with Clearwing North American deployment of DiGiCo’s brand new 32-bit ‘Ultimate John Productions and DiGiCo.” Stadius’ Mic Preamps, which are being used on several stages throughout DiGiCo’s SD-Range and S-Series mixing consoles are supplying the the festival grounds. Delivering significant audible improvements and main house mix for L-Acoustics K1 / K2 / KARA loudspeaker systems on transparency, each eight-channel SD Mic seven Summerfest stages this year - including Preamp Card includes a fully differential audio the 23,000-seat American Family Insurance path from input to converter, twin 32-bit ADC Amphitheater - as well as for JBL systems on conversion and a lightning-quick conversion the four remaining stages. time of 73uS. As usual, the impressive roster of A-list talent “Long billed as the ‘World’s Largest Music performing during the 50th anniversary festival Festival’, Summerfest brings in nearly a million spans a broad spectrum of genres, including visitors to see and hear more than 800 acts Red Hot Chili Peppers, Luke Bryan, Paul Simon, “Without a doubt DiGiCo is the performing over an 11-day run,” said Clearwing Zac Brown Band, P!nk, The Chainsmokers, Tom Productions President and CEO Gregg Petty & The Heartbreakers, Chris Stapleton, most requested console brand on Brunclik.

Dierks Bentley, Future, Big Sean, Willie Nelson, touring riders. Their reliability has “Clearwing has been providing audio for Bob Dylan, Sheryl Crow, Steve Miller Band and been absolutely rock-solid, and the hundreds of others.

Summerfest since 1995, and it’s a fast-paced, punishing schedule of amazing artists, rain service and support we’ve received TPi or shine. We’ve been increasingly relying on Photos: Jay Baumgardner & from DiGiCo’s distributor, Group DiGiCo consoles for more and more stages Clearwing Productions each year, and we’re thrilled to now finally have www.summerfest.com One, has been second to none...” them on every single Summerfest venue. Why? www.digico.biz Gregg Brunclik, Because they’re without a doubt the most www.g1limited.com Clearwing Productions CEO & President requested console brand on touring riders, www.clearwing.com 24

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EVENT FOCUS

JESS GLYNNE, RUDIMENTAL AND PETE TONG HIT THE DECKS AT V FESTIVAL All Access Staging & Productions helps to deliver a trio of successful gigs for show and production design duo, Cassius Creative at V Festival.

Having worked together previously on touring productions and festivals alike, Cassius Creative and All Access once again joined forces at one of the UK’s only simultaneously occurring weekend events. All Access was the only supplier to have worked on all three of Cassius Creative’s acts during the weekend of 19-20 August.

British vocalist Jess Glynne, drum & bass band Rudimental and DJ Pete Tong’s Heritage Orchestra show - which brought Ibiza classics to the masses at the festival’s Chelmsford and Staffordshire sites - were part of a hectic yet successful trio of productions for the designers.

These V Festival performances benefitted from All Access’ Versa deck, which has set the industry standard for indoor modular staging, yet is versatile enough for use at any outdoor event.

The components had to have the ability to fit into tight trucking transfers, as well as swiftly roll on and off festival stages throughout the UK and Europe for fast changeovers. This was completed with ease thanks to All Access’ systems having offset pipe pockets that stop the wheels from clashing when the risers are rolled.

Dan Hill - one half of Cassius Creative along with parter Chris ’Squib’ Swain - stated: “All Access are great to work with; they’re very flexible in their build and delivery, which makes them an ideal company to work with during the busy and demanding festival season. We had three very different designs for each of our acts: All Access built some bespoke design elements including grill ramps at varying angles for Rudimental which we could light through, a beautiful mirrored performance area for Jess Glynne and her

band, and Pete Tong and The Heritage Orchestra’s multi layered setup allowing us to present over 50 musicians as we needed to - in a 30-minute festival changeover!”

Matthew Bull, All Access Sales Manager, commented: “It’s always great collaborating with Dan and Squib, we’ve enjoyed a good worked relationship on many projects now. It’s an interesting proposition as they always push the technical limits and alter traditional boundaries with their vision. We love to be part of these creative ambitions, and weekends such as V Festival prove their abilities as designers and our ability as a rental partner and manufacturer can result in great looking yet functional shows.

It’s rare that three collaborative pieces of work are all seen together over one weekend and in two places, but we look forward to future projects.”

TPi Photo: Shirlaine Forrest www.vfestival.com http://allaccessinc.com www.cassiuscreative.co.uk 26

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03/08/2017 16:28

EVENT FOCUS

AVOLITES TITAN TRAINING IN LEISURETEC’S TECZONE In July, Leisuretec welcomed Avolites back into the TecZone for their Titan Foundation & Advanced Masterclasses. Leading the session was Avolites’ very own Product Specialist, Rebbecca Harding.

Since being founded in 1976, Avolites has firmly established itself as a world-leading manufacturer of stage lighting control equipment.

Appealing to lighting specialists and novices alike, its Titan training proved to be as popular as ever with 16 participants attending the foundation course on day one.

First, was an introduction to the Avolites product range and opportunity for the team to familiarise themselves with the consoles. The products available on the day were a selection of Avolites’ most renowned consoles; the Arena, Tiger Touch II and the Quartz. Avolites’ Product Specialist, Rebbecca Harding spent the morning going through the layout and features with the team, while they had the chance to get hands on testing out some tips and tricks. Once they had found their way around the desks it was time to get in depth with Titan V10. Boasting an extensive list of features, the Titan software is equipped with everything necessary to put on an

impressive and professional light show.

Day two was focussed on the more advanced features that Titan has to offer such as cue lists, timecode, pixel mapping and MIDI. With the professional support from Harding, the attendees let their imaginations run wild and got to work creating their own pixel map. There was a variation of designs throughout the room, including PAC-MAN. In addition to this, one attendee actually managed to make a horse run past its stable!

All TecZone training courses are completely free of charge, with refreshments provided throughout the day. If you’re interested in attending a future course please visit the Leisuretec website.

TPi www.avolites.com www.leisuretec.co.uk 28

TAKE THE STAGE Featuring high performance Coaxial Differential Dispersion horns for greater pattern control enabling the artist to stand directly over the monitor or further back, without significant changes in SPL or tonal balance.

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03/08/2017 16:29

EVENT FOCUS

MLA CELEBRATES FIVE YEARS AT HYDE PARK In its quest to establish Barclaycard Presents British Summer Time Hyde Park (BST) as the best festival in the world, AEG Live Event Director, Jim King, is celebrating the fifth consecutive year at the site by announcing a two-year extension to the contract with Martin Audio rental partners Capital Sound.

A site that was historically thought to be unworkable because of the way punitive offsite sound thresholds had impacted on sound levels in the bowl, has now been transformed. This is due to the expertise of Capital Sound, and a combination of Martin Audio’s flagship MLA PA and the constantly evolving DISPLAY optimisation software.

Capital Operations & Development Director, Paul Timmins, explained: “Jim expects to see constant improvements in the service technology and that every component deployed is state of the art. AEG realise that MLA will remain the best tool for the job largely because the software updates are so fast moving - meaning that year on year we can continue to move the festival forward. But there are further improvements we can make elsewhere to equipment.”

To that end, Capital this year implemented some significant upgrades on the main Great Oak Stage.

The rental company introduced 24 of the new XE500 floor monitors, which saw its debut at last year’s Glastonbury Festival (with RG Jones).

These feature unique Coaxial Differential Dispersion technology with a patent pending third static waveguide. This is designed to deliver perfect monitor sound at very high SPL output with a defined coverage pattern that allows the artist freedom of movement, while reducing overlap with adjacent monitors.

Driven by Martin Audio’s new iKON iK42 advanced 4-channel power amplifier, combining very high power density with superb audio

performance, state of the art DSP and network control, the XE monitors were used by bands performing at the event, including Blondie and Starsailor, as well as some supporting mixes for The Killers. “We saw these monitors at the development stage - they are slightly smaller and lighter than their predecessors, and the indications are very positive,” stated Timmins.

Capital also replaced conventional W8LM Mini Line Array front fills with 12 MLA Compact - so that all MLA components can now run on the same network.

Elsewhere, the company replaced old Martin Audio W2 technology in the VIP Pavilion with 14 Martin Audio XD12’s in landscape mode to make the coverage pattern more uniform (without the need to rotate the 80 degree x 50 degree horn). “These replace the 16 W2, which were previously hung in portrait mode. It’s a more efficient solution and demonstrates our willingness to embrace new technology using the new flying hardware,” Timmins continued.

“In fact with one exception where we have used WS218X subs, every Martin Audio loudspeaker deployed at this festival is current.”

For the rest of the main Great Oak Stage set-up the PA was consistent with last year and comprised two hangs of 16 MLA and 1 MLD Downfill per side, with 13 MLA and an MLD Downfill for the sidehangs. The sub array consisted of 21 MLX in a broadside cardioid array, with a further 11 enclosures back facing.

30

BRITISH SUMMER TIME

Below: System Tech Toby Donovan; Capital replaced conventional W8LM Mini Line Array front fills with 12 MLA Compact .

The main 10 delay towers comprised 7 MLA and a single MLD Downfill, supported by 12 MLX subs while delay positions 10 and 11 deployed 8 MLA Compacts.

Certainly the 55,000 people who attended the fourth sell-out show, headlined by Kings of Leon, had no complaints about the sound coverage.

The Nashville rock band opened with Over from their most recent album, Walls, before taking it back to their early days with Slow Night, So Long.

Crowds screamed along to more recent hit Eyes on You and the iconic Mary before closing with their greatest hit Sex On Fire and one of their newest tunes, Waste a Moment.

Earlier, lead vocalist Caleb Followill had exclaimed: “I don’t have to work tomorrow, so I’m going to have a lot of fun tonight. I hope you guys join us!”

And so they did, just as they had done earlier for a lively performance on the Great Oak Stage by evergreen band, The Pixies (to whom Kings of Leon paid tribute). And the sound quality throughout was pristine. As one person observed, “I had only heard The Pixies on record previously and this sound exactly reproduced that.”

One ringing endorsement of the exemplary sound control across the site is that for the first time no-one raised the question of sound levels.

“It’s simply not an issue anymore,” Timmins reported. “In fact Green Day’s Sound Engineer was told he could turn the sound level up and still remain comfortably within the offsite sound threshold. And as for The Killers on the second Saturday, it was everything a rock gig should be.”

Another key change this year was the new optimisations created by the event’s long-serving System Tech, Toby Donovan, to keep the sound contained independently within the Great Oak and Barclaycard stages.

With the venue now getting week-round usage, as far as sound pollution goes, the site is heavily regulated and no audible offsite sound is permitted.

This is particularly challenging when the crowds are so much smaller and it required some clever programming of the field delays by the system tech to pull the sound in. Donovan praised the additional lower frequency control of the new DISPLAY 2.2 software, using it on a grand scale for the first time.

Timmins noted that MLA’s easy reconfigurability came into its own midweek - particularly for back-to-back presentations like Cinema, live coverage from Wimbledon and a replay of last year’s successful Carole King Tapestry concert all requiring significantly different soundscapes. Both he and Donovan reported general satisfaction with the coverage and the levels achieved.

Site-wide signal transmission was once again via an Optocore redundant loop fibre ring system. Leading Capital’s 20-strong crew were Martin Connolly, Account Manager, Great Oak Stage, with Timmins taking responsibility for the other stages. Al Woods, returning from Dubai, was Crew Chief for the main stage, having last worked the event in the opening year. FOH babysitter was Chris Whybrow, while Crew Chief on Stage 2 was Rob Eatock, with David Preston on FOH babysitting duties.

PA CONFIGURATION - OTHER STAGES Martin Audio systems were also provided for several other stages. On the Barclaycard Stage (Stage 2), 8 MLA Compacts were flown on each side with 14 WS218X subs in a spaced and recessed cardioid configuration, with 4 Martin Audio DD12 providing front fill sound, while 2 MLA Compacts were provided as outfills on stage left.

Bacardi Bar also featured a distributed system including 3 Martin Audio DD12, 2 DD6 and a PSX subwoofer. Since the live element has now disappeared, this was used largely for playback.

A new feature was the Moretti Bar, where an MLA Mini system (4 elements plus sub each side) was complemented by 4 DD12 as DJ fills on a distributed system. These were repurposed as outfills when a live band was introduced.

TPi Photos: Jessica Gilbert www.bst-hydepark.com www.martin-audio.com www.capital-sound.co.uk 31

32

PRODUCTION PROFILE

RADIOHEAD In the midst of an incredibly busy summer season, the enigmatic British rockers and their crew played host to TPi’s Ste Durham as they showcased their revamped touring production.

Although Radiohead’s latest tour was in support of the same album as the run that preceded it, A Moon Shaped Pool, Production Designer Andi Watson was keen to completely reinvent the look of the stage to avoid bringing a similar show back into some of the same venues. As well as hitting arenas around the world, the band and crew also made time to fit in a number of US and European festivals, including headline sets at Coachella and Glastonbury.

Production Manager Neil McDonald used a variety of his tried and tested suppliers for the tour, including Adlib, TAIT Towers, Upstaging / Neg Earth, McGuinness, Phoenix Bussing and Popcorn Catering.

which meant curved trusses, an elliptical video screen and automated ‘Slinkys’ that moved the lights up and down.”

The Slinkys in question, named after the 1940s toy, were essentially a less angular iteration of traditional pantographs suspension system; a helical spring that surrounded the hoist, contracting and expanding as the Claypaky Mythos 2’s on the end of them were raised and lowered.

“The Versa TUBE v2’s are another fixture that I adore,” continued Watson. “It’s tragic there was never a 3, 4 or 5!” The Versa TUBEs were arranged in a single curved row that ran parallel to and just in front of the upstage video screen. They, much like the rest of the rig, were pixel mapped and used for a variety of custom effects and chases throughout the show.

Watson also made heavy use of GLP fixtures, namely the impression X4L and the impression X4 Bar 10 and 20’s. He said: “We have the GLP X4Ls for audience washes, band washes, and rear washes, as well as on the floor as side and rear lights. I love them because you can pixel map and run textures through the beam. With some fixtures you can only see the modulation if you look right at them. The X4Ls seem to carry that a lot further, which is lovely.

“I hadn’t used the X4 Bars before but immediately I thought they were gorgeous. They are used as front and back lighting for the band and as very low key as we have so many cameras.

“Another important element is the 10 Martin by Harman MAC Viper Performances, with which we using Follow-Me remote followspot system from the ground - anything that increases safety on rigs is beneficial as far as I’m concerned.”

The lighting rig, supplied by Upstaging in the US and Neg Earth in Europe, also included 12 Martin by Harman MAC 101 CTs on the floor and 36 SGM Q7 LED strobes distributed between the front, mid and rear trusses, and on the floor. The LD also specified 6 Base Hazer Pros and 2 MDG The

JIGSAW FALLING INTO PLACE A major characteristic of the band’s live offering is the way Watson has created a truly integrated visual system. Although the dual disciplines of lighting and video have been inextricably linked since the latter became an established component of concert touring; achieving genuine amalgamation has proven a little more elusive.

Watson, explained: “I have always tried to treat any video components in a show the same as any another light. My job is to create an environment for the band’s songs to exist in and, in order to do that, I colour and texture the stage using multiple layers - video and lighting are just one part of that visual field. Everything on stage is treated as a light source, and by default that also means the objects and people on stage that have light bouncing off them. We layer lots of elements and blend everything from pre-rendered textures, to light textures, to beams and gobos, in order to build that environment.

“The last tour had some beautiful moments and made use of rectangular video screens, Ayrton DreamPanels, and vertical columns - all very angular aspects,” he said. “This time we wanted to do the opposite, 33

RADIOHEAD

One Hazers for atmospherics.

Rob Gawler, FOH Lighting Tech, commented: “It’s a very solid system we have in place now with the Luminex switchers and some very reliable fixtures like the GLP X4Ls. The Mythos 2’s on the Slinkys look great as well.

“There’s so much automation that we need a lot of room but we will always be as faithful as we can to the original show; generally using what Andy ‘Fraggle’ Porter at Glasto called ‘brave and unusual rigging’! It also allows the band to play whatever song they want from the long list. We swap data with the automation boys regarding the Mythos and Follow-Me

positions on a separate network so it doesn’t interfere with Art-Net and we use an analogue comms system alongside it.”

As well as providing the best looking show possible for their fans, Radiohead have always tried to be as environmentally friendly as possible, including taking the the first large-scale, all-LED tour out in 2008. Watson said: “I would always ideally continue that, but unfortunately it wasn’t possible with this design. There simply weren’t the LED lights available that were powerful enough to be the fixtures on the ends of the Slinkys. As well as the indoor shows we are playing festivals in northern Europe, in the

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RADIOHEAD

summer, which basically means that darkness is far from guaranteed.

The Mythos 2 was the best available substitution for a high power LED profile; it’s very efficient, has a small bulb, and is good at turning power into light.”

The Epson EB-L25000U laser projectors, provided by Universal Pixels, also impressed Watson with their energy efficiency and output.

“We first saw Epson’s professional installation laser projectors when they were announced at InfoComm last year and were immediately impressed by their build quality and performance capabilities,” explained Universal Pixels’ Phil Mercer. “It’s refreshing to have something new and exciting in this market. But what makes Epson’s projectors really appealing is their ability to adapt to different light and environmental challenges.

“With a quick succession of global tour dates requiring efficient load-ins and load-outs, we need reliable projectors that could be installed quickly and easily and could withstand the most demanding of locations. These can range from outdoor festivals in hot climates where dust can be challenging and a very compressed timeframe for line up in darkness overnight, to indoor arenas where weight and size are at a premium. The Epson projectors can be unloaded straight from the truck and installed quickly without compromising on image quality, colour and brightness.”

The projectors were used to add further texture to Watson’s design, layering on top of the concave upstage video screen to draw out the content. The LD set out the benefits of the screen’s somewhat unconventional shape: “I like to say that the screen kind of cuddles the band, but it was designed this way for two reasons. Firstly it ensures that, even if you are off to the side, you can look at one of the band members and still have some interesting visuals behind them.

Secondly, it gives everyone his or her own perspective on the show.

I like all the places you can watch the show from to have a unique experience - the moment you go off axis, the shape of the stage and the screen changes.”

The elliptical screen was custom fabricated at TAIT in the US and, in order to ensure that the screen adequately caught the projections, a number of special modifications had to be made.

“I wanted a silver, glitter surface for the screen,” said Watson. “I love the effect you have when you project onto a glitter surface and you pick up all of the refractions and reflections, almost giving it a film grain effect. Although the end product is beautiful to look at, it definitely caused a quite interesting development path!”

Video Tech, Steve Grinceri, picked up the story: “The screen is a custom hybrid product, made up of Linux ROE 9mm tiles with Hibino processing. The ellipse shape had to be custom cut and then vandalised, I mean painted, so the shaders can take the projection.

This meant unscrewing each panel, spraying it, and screwing it back onto the frame - I think it was something like 160,000 screws in total! TAIT made the custom LED frames to fit the tiles we had and engineered them in such a way that we didn’t need a traditional fly bar on top; we’ve got internal pick ups at random places so we can make it look like its hanging. This also means we don’t have to have a whole bunch of steel on top, which would adversely affect the way we planned to move it.”

TAIT fabricated the packaging and frames in March 2017, as well as the custom Arc Trusses that housed the Slinkys. The company also hosted the crew for a month to allow them to make the necessary modifications, with the aforementioned “movement” also being taken care of thanks to TAIT software and crew - more on this later.

Projectionist, Jake Hogensen, added: “It’s a reflective surface, which can be a battle on some days, particularly the festival slots. We custom map the stage every day, which includes shooting onto the backline and through the band themselves.

“It’s our first tour with the Epson projectors and they have been super reliable. I’ve used all sorts of projectors but I love these for their simplicity and versatility - they can run for hours and I don’t have to worry about lamp life or flicker. You can pretty much turn them on, set ‘em and forget ‘em.”

As well as dealing with daylight and reflective surface, Hogensen had to ensure each day that the content was inch-perfectly mapped onto the stage and screen during the set, also accounting for the movement of the screen itself.

He continued: “I have to focus in the changeover at festivals but I have a stealth test pattern for that. I focus on the ‘up position’ so we always get that movement. Andi doesn’t want to give the game away so we have to work together and rough it in. Obviously with our arena shows this process is a lot simpler and we can take more time to make

sure it’s perfect.

“I use the proprietary Epson software and run two quad fibre lines to FOH that handle signal and control. They have their own individual interface that has a warping engine on it, which allows me an infinite number of points across 8 planes to match the content up with the curved surface.”

Automation Technician, Tim McCarthy, gave more detail on the TAIT system in place: “The ellipse moves around 8ft in total during the show, though we have to adjust this for the trim heights of various venues - particularly Glastonbury where we couldn’t move it at all.”

He continued: “The total weight of the rig is distributed across 8 points and clocks in at around 67,000lbs. We have 8 2-tonne TAIT Nav Hoists, pre-rigged in Tyler GT Truss, and downstage we have another 24 half-tonne hoists, reeved for double purchase, for the Slinkys. All of this was controlled by TAIT Navigator.

“All of the looks are pre-programmed but, due to the ever-changing setlist, we have to do some things on the fly. We have each song ready to go in a long-list, which is cut down to the set on the day. There’s also a number of ‘neutral’ looks that we can call on if need be “The cool thing about Navigator is that we can scale everything, so when the grid gets reduced we can scale depending on how much travel we have on the Slinkys.

So, even when we’re doing a reduced version of the show, we get a relative amount of movement even though the actual flying distance may be much smaller.”

As is the protocol with such a highly automated show, McCarthy and Automation Tech, Robin Henry, had to stay in close radio contact throughout the set - one acting as a spotter and one as operator - to ensure that nothing moved unless it was 100% safe to do so.

VIDEOTAPE The vast majority of the video content seen on stage came from the live cameras set up around each venue, which consisted of 12 Sony H700 RMTZ cameras with full control and monitoring, and a Piano Cam. The images from the cameras are captured into the Catalyst v5 media servers where they are manipulated and the resulting multi layered outputs sent to the ellipse, projectors and any festival screens. Watson explained: “A traditional LED screen would be backlit but we tend to stay away from the conventional! We use a

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35

RADIOHEAD

lot of double exposure overlays, a lot of interesting colour effects from the Catalysts and a lot of ’unusual’ shots to create a unified output fields.”

Another unusual aspect of the video content, particularly when compared to other shows on the same scale, was that it avoided being literal or even song-specific. Watson, alongside Pip Rhodes, developed more of an abstract atmosphere that ran from song-to-song, undulating in parallel with the band’s varied musical dynamics.

Watson explained: “We try to avoid narrative altogether on a Radiohead show. Pip essentially gives me a palette of textures that I can use and build from - we have over 240 layers of video on all the surfaces - and this allows me to create and loop layer elements. People might think that some of the patterns we have are abstract but a lot are actually built from QR codes and barcodes and have a carefully arranged visual language and meaning.

“Obviously some songs the band plays are more specific than others when it comes to the lyrics, but they are also very deep and layered in meaning. I like to leave the interpretation up to the audience as much as possible.

“Sometimes songs are personal to the audience as well as the band.

If someone decides what he or she thinks the song is about and we show something different on the screen then we’re potentially ruining it for them. I want to create a synaesthetic visual field that matches the music so anyone’s interpretation of it remains valid and true. It also means we’re not second-guessing what the majority of the audience thinks.”

Rhodes who has worked with Watson for many years, added: “As well as being on the video screen and in the projection, the content is in the lights and even the Versa Tubes. I rarely give Andi anything in colour and they are pretty much unrecognisable after he blends and manipulates them, which is what gives them such an interesting and different look. He is a Catalyst wizard and there are so many layers involved, not to mention the fact that everything has to be reformatted to fit the ellipse.”

Watson, despite modestly laughing off his newly bequeathed title,

discussed his relationship with Catalyst: “I have used it for a long time and I know Richard Bleasdale very well - I’m very lucky that he’s written parts of Catalyst for me in the past. I’m sure other servers could do the job but I know this system and the latency is great. It’s reassuring to know that I can take live cameras and content and blend them in the server for a specific effect.”

Rhodes continued: “What we have on this tour is basically a mixture of old, new and reformatted content, the oldest of which is probably is five tours old. Sometimes the original source file is a winner but by scaling and manipulating it you get a completely different look.”

Although technology advances from tour to tour, Rhodes quite rightly pointed out that the existing songs themselves stay the same. This allowed the pair to refine the look of the older songs while accommodating newer or more obscure ones from the band’s extensive long list - which was around 80 songs in total. The control for the show came from an MA Lighting grandMA2, which has been Watson’s desk of choice for a number of years, which is important since he programs and operates the show himself.

Rhodes added: “Andi has a look in his head for the show and by now I think I’m pretty good at interpreting it. I don’t really get told what the song is, which keeps me on track and allows him to ensure that his vision isn’t diluted at any point.”

Ed Jackson, Cameras / Catalyst, and Katie Friesema, IT / Cameras, were at the side of stage to look after everything that Watson and his FOH crew couldn’t. Jackson commented: “Although the setup is complex it’s still quite conventional from a touring point of view - there’s just more of it. It’s all shot entirely live so Andi has to stay in communication with the camera operators. They know the shots that are expected but the tweaking comes from Andi when he’s not too busy.

The camera feeds were managed and processed by 5 Catalyst v5 Pro Media Servers (each with tracking spare) and a full video acquisition, distribution and recording system.

36

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09/05/17 11:35

RADIOHEAD

Above: System Tech, Marc-Olivier Germain; FOH Tech Rob Gawler and Show Designer Andi Watson; Steve Grinceri, Jake Hogensen, Tim McCarthy, Robin Henry and Katie Friesema; Monitor Engineer Michael Prowda caught mid cart-jack.

Jackson continued: “We also look after the Follow-Me system, projection processor, LED processor, and Versa TUBE server. Most of the work is down to the composition of the shots themselves and how the haze or beams of light affect them. Andi is wearing a lot of hats so the camera ops have to be on it at all times.”

Everything at the side of stage was backed up, though some elements had less spares - such as the Versa TUBE interfaces - as the fixtures themselves have been discontinued.

The last word on the shows visuals went to Watson: “I think we have a ‘Radiohead’ visual language that makes sense to the band and to me. I listen to their music and get colours and textures in my head. They are uniquely creative musicians and are perfectionists who are willing to take a risk to move their art forward. It has been a privilege to share that journey with them. I’m also incredibly lucky to have such an amazing team that works so hard to realise the shows, not to mention an incredible collection of suppliers.”

wanted to see happen had been done via the software. All the other ideas I had got factored into the new one, so it made sense to move over and use software I was familiar with.”

I’m not entirely sure where the notion came from but, when I imagined Radiohead’s FOH, I half expected to be confronted with a giant, archaic slab of analogue desk, possibly flanked by racks upon racks of dusty, boutique outboard gear. While the S6L was not exactly in keeping with that image, I discovered that it wasn’t there without good reason. Warren explained: “To be fair I used analogue until it became impractical. Funnily enough James Blake has a Midas Heritage 3000 and it’s amazing - and enormous - but I’d need two, at least, and 8 racks of outboard. I wouldn’t fit into most festival FOHs! “Once you have that much kit, just keeping it running and working is enough of a challenge, but with Radiohead every song is different and there are loads of inputs. They don’t necessarily use all of the instruments in every song but I need to be able to access them at all times. Having a digital desk means I can recall snapshots at the touch of a button without jumping all over FOH.” The S6L’s features also allowed Warren to automate changes for parts that had proved tricky in the past. He said: “I’ve been mixing Exit Music for 13 years and have always used two snapshots; a ‘quiet’ one at the start then a ‘loud’ one for when the bass comes in. This always meant I was scrabbling around with faders during the end section because the song comes down but not all at once.

“The new desk got me thinking that I could programme another snapshot, which was essentially a four-second crossfade that gently pulls everything down while Thom’s [Yorke, vocals] voice and acoustic guitar gently comes up. It’s so much easier than running up and down the console and sounds fucking great!”

The crew recorded the show into ProTools each gig, mainly for sound checking purposes, but this allowed Warren to repeatedly loop the Exit

EVERYTHING IN ITS RIGHT PLACE FOH Engineer, Jim Warren, began by giving an insight into the dizzying run of shows that surrounded the Dublin show: “It’s been intense that’s for sure. In recent memory we went from Glastonbury, to Poland, to Belgium overnight, and from Denmark to Florence then back to Holland, before coming here via two ferries. It’s strange to spend all this time jetlagged having spent virtually no time on a plane!”

Adlib supplied much of the audio requirements for the UK shows, supplying PA or sub hiring it in between festivals, allowing the crew to tour with their own consoles.

Warren continued his long-standing support for Avid consoles by taking the new S6L out on this tour. Excluding the one widely publicised issue it had at Coachella, the engineer was full of support for the company’s latest offering. He said: “I’d used the VENUE for years and loads of the things I 38

GOING THAT EXTRA MILE ...

RADIOHEAD

Music transition enough times to get it as “close to perfect” as possible.

As well as instruments coming in and out of the set, the varied set list meant that Warren had his work cut out when mixing the band’s varied dynamics.

“It’s challenging as they don’t have that one sound you settle into and go with. Some engineers might find that frustrating but I find it quite amusing.

“I pushed the band to be there during rehearsals, mainly because it made my life a lot easier. They express themselves different ways. Thom in particular is very clever and a good musician and his comments tend to come as he is walking past to make a cup of tea. He will wander up, say ‘soak the vocal in reverb’ and leave you scratching your head. And he’ll be exactly right.

“Of course he’s been involved in recording the song so he knows what worked at the time - whatever the key was that made the whole song fall into place.”

He continued: “There’s also songs that have random noise parts fired in live like Climbing Up The Walls or The National Anthem. Johnny [Greenwood, guitarist] has an FM radio on stage that his tech programmes every day to various stations that might be interesting. He then gives it to Johnny and says, ‘jazz on channel 1, talk radio on 2 and some mad Christian fundamentalist on 3’. Johnny finds what he likes and manipulates it live.

“They are incredibly lucky - the number of times that they’ve absolutely nailed the perfect sound bite is astonishing! You take the risks and when it works it’s magic. They could have done so many things to make life easier for themselves but they don’t. The audience wouldn’t know but they would.”

As was previously alluded to, this edgy and undeniably authentic brand of live performance extended to the band’s set list; a selection that changed rather drastically from show-to-show. “While it does change a lot, this is still probably one of the most consistent tours,” Warren said. “I rebuild my set list every day, and I think the long list is around 80 at the moment, which is trimmed to a working list of 50 or 60 once they’re out on tour.”

worked previously with Warren on Florence + the Machine and Arcade Fire, and so had a good understanding of the engineer’s priorities. He said: “As with everything else, the configuration of the system is dictated to an extent by the venue. We generally favour a main hang of L-Acoustics K1 with 4-6 K2 as down fills, while the side fills are K2 only.

“We fly K1-SB subwoofers behind the main hang and have an arc of KS28’s on the ground. We’ve also started using a centre cluster of subs since the Florence tour that has given us good results. It gives us a better dispersion and it makes the hole in the low end that bit narrower.”

Warren explained the choice of kit: “It’s hard to experiment with stuff like consoles and PA because you make this big decision then you are lumbered with it for months on end. Festivals are a good time to do that, but we’ve had K1 and K2 as a go-to setup for a while now and it’s so smooth sounding.

There’s a very low level of distortion and very clean mids.

“I have a high level of distortion coming through desk so I don’t have to have a dirty signal through the PA as well. The K1’s dynamics don’t change from whisper quiet to screaming loud, which is incredibly useful for this band. They’ve also addressed a lot of rigging issues from the V-DOSC.” Germain continued: “We’ve been out with KS28 since last year and are really pleased with them. We have more SPL coming out of them and the response feels flatter across a wider range as well. Adlib have provided have KARA front fills and V-DOSC delays if we ever need them.

“DSP is available within the new LA12X amplifiers for calculations, which makes it quick and easy to fine-tune different zones. The linear phase and FIR filters are also useful for shading areas. I always use Meyer Sound Galileo or Calisto in front of amps to do general EQs and use other features not available from L-Acoustics.”

The System Tech added: “The new subs are really powerful and sound great, as do the new amps. Sometimes getting that low end punch that we need for some songs depends on something as small as the cabling but Adlib always have the proper gear. It depends on situation but most of the time we will use Focusrite RedNet for signal distribution.”

Although Monitor Engineer Michael Prowda was as distinguished as they come in terms of his previous work with legendary artists like David

ALL I NEED System Tech Marc-Olivier Germain, who joined the tour in March 2016, had 40

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RADIOHEAD

Bowie and Nine Inch Nails, his knowledge of Radiohead’s music was not as impressive - much to the delight of the band themselves.

He said: “The day I first went to meet Radiohead I’d only just seen them play a new tune of theirs on late night TV in the US. I thought it was cool and even half recognised the guys but had no idea it was them! I told them that story right off the bat and they loved it!

“We began working together soon after that and, during pre-production, they decided they were going to play Creep, which they very rarely do. As a result I didn’t have a snapshot ready for it and asked them ‘so, what does it sound like?’ What’s it similar to?’ They couldn’t believe it. ‘You don’t know Creep?’ It’s their most famous song but I was completely oblivious; they loved that as well!”

Prowda soon settled into the gargantuan long list of potential songs and was able to use his keen sensibilities to ensure that the band were getting everything they needed to perform at the highest possible level.

He continued: “I have a certain approach to any of these projects, as each one necessitates a certain intensity. There are stages. Pre-production for Radiohead led us to a combination of monitor speakers and IEM, so it was a case of figuring out the specifications and products that would work best.”

The Monitor Engineer also had a long history with Avid products, also opting for the new S6L. He explained: “Both Jim and myself got involved with Avid on the initial release of the Venue in around 2005, right on the edge of beta testing. I have a certain loyalty and familiarity with the workflow.”

Prowda also specified d&b audiotechnik M4 wedges, Shure PSM1000 IEMs and the Shure AXT600 Axient Spectrum Manager. “Not only does Shure sound great, it’s all networkable and has Wireless Workbench software direct interfaces that are invaluable. We also use the AXT600 Axient Spectrum Manager, which is basically a plug-and-play analyser and scanner to network all of the products. It makes my job workflow seamless.”

A particularly interesting part of Prowda’s setup was the Sensaphonics 3D Active Ambient system. He explained: “The earpiece has mics built in, whose levels are controlled by the guys on an external belt pack. This means that they can control the level of the ambience coming through at all times depending on how they feel, instead of me having to guess. It’s way

more advanced than using audience mics and the guys are really happy with them.”

With the kit in the bag and pre-production completed, the next challenge for Prowda was adapting between having a day-to-day touring routine and working on festivals. “There’s a procedure we go through on tour throughout the day with load-in, sound check, getting the IEMs delivered to dressing room and so on, but that is all condensed on a festival,” he said.

“I’ve basically just accepted that there are certain things I can control and other things I can’t. I have control over in-ears but we are attached to environment of the PA. If we’re using our PA in arenas every day there’s a certain consistency, a manageable range at least, but festivals in between means the kit and the environment are always changing.

“It’s definitely interesting and can lead to extreme emotions,” he laughed. “Sometimes I can walk away thinking it was a fantastic show and other times I can walk away thinking I don’t ever want to mix monitors again!”

EXIT MUSIC Thankfully for both the band and the gathered masses, Prowda and the rest of the crew did indeed have a fantastic show. The visuals evolved as one alongside a dynamic and expansive setlist, creating a truly immersive Radiohead experience. The tour, whose ups and downs were widely publicised throughout, has now come to an end, with a new album and tour possibly on the cards in the near future. If this last production masterclass is anything to go by, the band’s return will surely be hitting the headlines once again in no time.

TPi Photos: Andi Watson www.radiohead.com www.adlib.co.uk www.taittowers.com www.upstaging.com www.negearth.com www.mcguinness.eu www.phoenix-bussing.co.uk www.popcorncatering.com 42

PRODUCTION PROFILE

Opposite: In support of their new album, California, blink-182 hit the road with a new line-up and a new touring aesthetic.

BLINK-182

With an altered line-up and a brand new record in tow, the American punk rockers hit the road with the California tour. TPi’s Stew Hume caught up with the band and crew at the tail end of their UK leg at the O2 Arena, London.

When news broke that Tom DeLonge was to leave the famed pop-punk trifecta he helped found, inevitable ripples of trepidation ran through the blink-182 fanbase as the band’s future was thrown into question. The answer: an altered line-up, a brand new album, and renewed enthusiasm for touring.

Alkaline Trio axeman, Matt Skiba, stepped into DeLonge’s spot and blink-182 subsequently unveiled California last year. Critics cited the album as a return to form. But fans at the rock shows offer the real litmus test - and if the reception the trio received at the O2 Arena is anything to go by, there is no risk of blink-182 disappearing from the punk zeitgeist.

rigging, SSE Audio for PA and control and Pyrotek Special Effects provided a good dose of gags throughout the tour. Also on the road with the band were Fly By Nite and Beat the Street providing transport and The Pantry Maid taking on catering responsibilities.

THE ROCK SHOW Creative Directors Neon Black - better known to their mates as Dom Smith and Bertrand Paré - were brought on to help recognise the band’s new vision. On top of designing the look of the show and putting together all of the video content, under the creative direction of Paré, Smith also toured with the band as LD. The man of many talents told TPi how he was brought into the camp: “It was clear from the first conversation the guys wanted something completely different than any other tour they had done before,” began Smith. “In the very early stages of the process they were sending through reference images from R&B tours, which admittedly would not have been my starting point for a rock show. But this openness to new ideas meant we had a lot of scope creatively.”

Initial concepts chalked out, Smith explained that when it came to lighting, he favoured clean colours with LED over the traditional spot and wash rock ‘n’ roll show. “We ended up choosing the Ayrton MAGICDOT-R for main upstage lighting,” stated Smith. “When I first started the design they were still relatively new but they seemed like the prefect fixture to use for our back wall.” In total Smith deployed 238 MAGICDOT-Rs on the rig. He continued: “We knew the band wanted a large video wall and we were keen

ANTHEM PART TWO Following such a drastic change, the band naturally wanted to give their loyal subjects something fresh and exciting in support of the record. Enter Production Manager, John Lafferty, who explained the changing mindset of the blink-182 machine: “I’ve been with the band since 2010, so during their comeback tour with the Neighborhoods album,” began Lafferty. “But in my 7 years experience here, this has been the heaviest touring we have ever done! Since the line-up change, the remaining founding members, Mark (Hoppus) and Travis (Barker) really wanted to work hard and do a proper album cycle. Both the band and the crew have really pulled out the stops for this tour and the reception has been fantastic.”

After a successful US run, blink-182 took the trip over the Atlantic where Lafferty signed up VER to take care of video, Neg Earth for lighting and 45

BLINK-182

Creative Directors Neon Black – better known to their friends as Dom Smith and Bertrand Paré – were brought in to help create the band’s new vision.

enabled us to shoot through with the MAGICDOTs. Essentially, this consists of a large upstage video surface angled to create a diminishing perspective, with a giant wall of 238 Ayrton MAGICDOT moving head LED luminaires upstage. The whole upstage assembly moves to create different looks as the show progresses.”

The production also deployed 3 on-stage VR3s, a 3mm LED product from VER. “For some time now blink have moved away from the traditional guitar cabinet set up using Kemper Profile Amplifiers that feed sound directly to FOH,” recalled Smith, who overcame the aesthetic dilemma accordingly. He divulged: “Despite the onstage guitar cabinets now being redundant, the band members were keen to not have a bare stages. The solution was to have three screens deployed on stage; one in front of the drum risers and two where the bass and guitar cabinets used to sit.”

A design keystone was the diamond truss configuration that moved in and out through the show, housing 38 Ayrton MAGICPANEL-Rs. Also on the rig were 30 Martin by Harman MAC Viper AirFXs, 26 Claypaky Sharpys, and 38 Robe BMFL Spots, which were used as key lighting fixtures on the front of the band.

Smith used an MA Lighting grandMA2 console for control. “For me, a control surface needs to be completely transparent and not get in the way of what I’m trying to create on the stage,” Smith reasoned. Despite long-standing experience with the desk, for the California tour, Smith used the grandMA2 in a way that was new to him: “I have utilised two methods of mapping for this tour. Most of my primary mapping is done via MADRIX. However, when it came to the MAGICDOTs, I wanted to do something a little more intricate and looked into using the d3 Designer. As a programming tool, d3’s interface is fast, intuitive and extremely powerful and the d3 Technologies 4x2pro media server doesn’t get in the way of creative thinking.” However, having 2 mapping processes on one tour did create an interesting problem for Smith as the grandMA2 is only designed to have one input. But after “a bit of head scratching” the LD found a solution, which

enabled him to switch 2 input sources by writing individual macros to turn an input on and off within ArtNET. “I have to be carful with my timings but essentially I can switch between 2 incoming sources and just have to tell the grandMA2 which one to listen to.”

DOWN (THEN UP AGAIN) In the original US iteration of the show, the production utilised an SGPS Steel system for the various elements of automation. However, for the UK leg of the tour, the production opted to make use of Neg Earth’s abundance of Kinesys technology. Simon Nott was the UK operator handling 20 motors for the upstage video and light walls, as well as the diamond structure.

Smith told TPi: “It was a bit nerve racking changing the automation halfway through the tour but Simon has picked it up so quickly. We rolled straight out of Europe into Cardiff arena and had a day to work out all the different moves. During this process Simon even showed us some extra movement that he could reproduce with the a Kinesys system that we hadn’t considered.”

Before joining blink’s tour, Nott was on the road with grime superstar Stormzy. Here, he was bitten by the live touring bug. Nott mused: “I come from a theatre background but in live touring I have found LDs are more open to your suggestions, giving operators a bit more creativity.”

WILD FIRE The automation department weren’t the only ones given creative freedom

by Neon Black. Nick Zangari was at the helm of blink’s special effects department; a role he has held for the last 5 years and one he treats with the utmost respect. “As many people will be aware, Travis, our drummer, was involved in very serious plane crash back in 2008,” began Zangari.

“Following the incident, the band hadn’t used any pyro. Then five years ago I was brought on board to slowly introduce various elements. We have got the show featuring a lot more flame but it has been a very gradual process 46

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BLINK-182

Pyrotek Special FX’s once again collaborated with blink-182 providing a whole selection of pyrotechnics for the tour.

the show featuring a lot more flame but it has been a very gradual process Haney jumped onto the blink-182 bus thanks to her relationship with video to make sure everyone is comfortable.” supplier VER. “I have known Cherie Sturm from VER for many years, and she Zangari enthused over the creative process with Neon Black: “It’s been linked me up with Neon Black. It’s been a great tour. Both Dom and Bert a great working with Dom! Although he is the designer, he is very respectful have designed a show where lighting and video coincide really well.” of people’s positions and knowledge. He lets me present my own ideas For control Haney used a Sony MVS 3000 switcher with a 5-camera which is a rare thing to find in this industry.” package consisting of a Sony HXC-100 camera, Fuji long lens and Iconix Pyrotek Special FX’s offerings went beyond its trademark Dragons and POV camera for the drum kit. “I had several conversations before taking 5 Masters. The company again provided blink’s now iconic flaming ‘fuck’ over directing the show,” she commented. “The band like to have fun on sign that was set alight during the show. The company also brought in Le the stage and the same goes for the camera ops. Every night I encourage Maitre’s 20 x 20 Silver Cascades. The special effects rider went onto include then to go out and find something amusing and each show I find myself several CO2 jets and a confetti cannon for the band’s encore. For control, chuckling at my screen!”

Zangari used an ETC SmartFade.

Alongside the cameramen documenting the onstage antics, Haney The company itself has had an even longer also positioned cameras on Barker’s drum kit to career starting with the band back on the Take off capture his raw energy. “We put two on his kit to Your Pants and Jacket tour in 2001. “Being a part of give a bit more versatility in the shots we can get the journey of blink-182 has been an honour and from the drums. We have one that is placed just a stepping stone in my career,” commented Bob off-centre. That is our main go-to but we have also Ross, COO of Pyrotek Special Effects. Ross went placed one on the right of the kit which gives a on to express his excitement for the return of the really powerful shot when he turns his body to hit ‘fuck’ sign to the tour rider. “To this day it is still his toms.” Production used Barco 20k Projectors one of my proudest accomplishments and was for the IMAG screens.

“Every night I encourage the the foundation of so many flame effects to come for Pyrotek and its clients.” camera men to go out and find BEHIND THE SOUND A complete L-Acoustics K1/2 system was selected something amusing and each AND THEN I TURNED ON THE TV for the tour, supplied by SSE Audio. The main During the American tour, Neon Black’s Bertrand hang was made up of 14 L-Acoustics K1’s with 3 show I find myself chuckling at Paré Video Directed before handing the job K2’s underneath as well as 24 KS28 ground subs. my screen.” over to Lindsey Haney for the European stint.

An L-Acoustics K2 was also used for the outhangs Having just got off the road with Black Sabbath, with 8 KARA and 6 ARCS cabinets, which were Lindsey Haney, Video Director 50

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BLINK-182

FOH Engineer Jason Decter; Creative Director and LD, Dom Smith; Simon Nott, Automation Operator; Monitor Engineer Sara Holt.

used for infill.

Jason Decter fulfilled FOH duties for the tour, after succeeding previous engineer, Dave Rat (Red Hot Chili Peppers) back in 2010 on the Neighborhoods run. “I have always been a fan of L-Acoustics since V-DOSC,” said the FOH Engineer, adding: “I have tried other brands but I always seem to have the best luck with this rig. Whether it’s outdoors or indoors it’s the most fluid, easiest to network and quickest to hang. PAs are like ice cream everyone has their favorite flavour and I’ve certainly got mine.”

For control, Decter chose the Solid State Logic L200 Console. “It’s the first time I’ve used the SSL and I wouldn’t go back to another console now,” he remarked. “It sounds awesome and has a logical flow, making operations really simple. Personally I like to have everything laid out in front of me so I can keep on top of the mix and react quickly should the unexpected happen - and with Travis it quite often does! At the end of the day blink is a 3-piece band and I don’t have loads of inputs or the need for a huge amount of screens surrounding the console. I can get the best output, with everything globally in one area and a real dynamic workflow.”

Regarding outboard gear, Decter said the majority of effects came from the proprietary set up that came as standard with the L200. “There is a mix rack with everything you would ever need from multi-band eq to stereo buss compressors.” The FOH Engineer explained how he ensures those on stage sound as big as possible: “These guys need a bigger bottom end with the kick and the bass filling more bandwidth then a bigger band might.”

Decter replicates Barker’s signature drum tone, and told TPi how he does the impossible: “Well it’s certainly fast and abrasive and he really does dig in when he plays,” he laughed. “From my standpoint I never want to roll it back on the desk but I have to work with a lot of parallel compression going achieve the sound that all the fans love.”

SSE Hire’s Dan Bennett was Project Manager for the tour: “We had been looking to add an SSL console to our hire stock, so when we saw

Jason wanted to use the L200 it was an ideal opportunity. We were really impressed with the build quality and logical interface, and SSL were very helpful getting us up to speed with our learning curve. Looking at the diary for the next 6 months we don’t envisage it will be sitting unused in the warehouse.”

Decter summed up his experience with SSE Hire: “The equipment is always well maintained, well packaged and in great condition. The support you get from the crew out on the road and the team in Redditch is just great. It’s always a pleasure to work with SSE as you know what to expect and they deliver every time.”

STAGE SIDE Monitor Engineer Sara Holt, who worked her way up from the ranks of Monitor Technician) utilised an Avid Profile, a package she inherited from her predecessor. She described the setup: “It’s nice and simple without having to do to much clicking through layers. Although I inherited this set up, it would certainly be my choice if I were to have started from scratch.”

For IEM the production opted for Shure PSM1000’s. “Both Matt and Mark asked for pretty general mixes with a little bit more of themselves,” stated Holt. “Travis, on the other hand, only has a click with almost no mix. He only ever wears one ear when he plays! For every song he pretty much counts the guys in and he is off with the other members keeping up. He really is a machine!” Holt also handled all the RF management utilising the Shure Axient AXT600 Spectrum Manager. “Even with a large amount of video the system is still really strong. I very rarely get into a situation where I have a problem. That allows me more time to concentrate at the mixing job at hand.”

As one of Audix Microphones’ endorsed artists, Barker had a selection of its products on his kit including a D6 for the kick, an i5 for the snare, SCX25A’s for the overheads, a SCX1HC for the hi-hat and a Micro D for the 52

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BLINK-182

As a long term-endorsed artist, Travis Barker used a whole array of Audix Microphones on his kit; To fill the void of on stage guitar cabinets, the production deployed 3 VR3 3mm LED screens supplied by VER; The video team Lindsey Haney, Jason ‘Spikey’ Harvey and Austin Stengle; Production Manager John Lafferty; Pyro Technician Nick Zangari.

toms. “Travis has been a Audix artist since 1998 shortly after he joined the band,” stated Abbey Masciarotte of Audix. “Our microphones are able to handle the high SPL’s of Travis’ powerful style and they deliver every note precisely as it’s played. FOH Engineer Jason Dector has been very complimentary about the performance and consistency of the microphones night after night, year after year.”

For vocals two Sennheiser 935’s were deployed. “They have been solid for us on this run,” praised Decter, adding: “The only thing I have to be mindful of is with Mark’s mix. Due to his animated stage presence he often sings across the microphone. On top of that he generally is a softer singer, meaning I have to boost the gain up. But it’s a delicate balance as I have to ensue I don’t get feedback from the PA or spill from the crowd.”

Finally Decter gave his thoughts on the bands moved to Kemper Amplifiers. “They are really good as long as you have someone to dial in the system which thankfully are backline guys are fantastic,” stated Decter.

Holt added: “They really are awesome. The fact that we don’t have the tone change from show to show just means it’s one less thing to worry about.”

Last but most certainly not least in the supplier chain was the Pantry Maid, which provided catering services for the band and production.

Director Lucy Bell has had a long history with the band, being the trio’s personal chef for several tours. After enjoying the extensive menu from the Pantry Maid at the O2 (thanks again for the sushi!) TPi sat down with Head Caterer Heather Spooner to discuss the tour. “For the European run we sent our two chefs who looked after the band, then for their UK run we brought on 4 extras to feed the crew,” began Spooner. “But, as is the way with London shows, there are always a few more mouths to so feed we added an extra 2 chefs to the team.” Spooner went on to mention how the main goal was to provide the widest range of food possible. “We have several dietary needs we have catered for including one individual who is a vegan and gluten-free. We set ourselves up to cater for everyone’s needs and tastes.”

With the last power chord ringing through the PA and the final f-bomb dropped, blink-182 said sayonara to their UK legions, promising to return to their shores soon. Although many things have changed for blink, it is clear that their long-term fans have accepted the changing face of the trio and are excited to see what the future holds for this punk-rock powerhouse. In the words of Mark Hoppus, “Well I guess this is growing up!”

TPi Photo: Sarah Rushton-Read & TPi www.blink182.com http://neonblack.org www.ver.com www.sseaudiogroup.com www.negearth.com www.pyrotekfx.com www.flybynite.co.uk www.beatthestreet.ne www.thepantrymaid.com www.sgps.net

PLEASE TAKE ME HOME (OR TO THE NEXT VENUE) Beat The Street and Fly By Nite handled the band’s European travel needs.

In total the production brought out 7 tour busses with 11 production trucks and 1 merchandise truck. Production then brought in EFM to handle all freight requirements, as the production flew their entire backline and backstage package from the US. Ian Massey from Beat The Street discussed the company’s involvement with the tour: “We have been touring with blink since 2004 and working with John on many tours over the years. Along with the 7 Busses for Europe and the UK, we sent out an addition 3 V-class passenger vans for the UK dates from our ground transport department. The band and production were a pleasure to work with and everyone always had a smile on their!”

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BLUEDOT FESTIVAL Back for its second year of educational science activities, musical must-sees and, set in one of the most unique event settings the north of England has to offer, bluedot returned to the Cheshire site of Jodrell Bank, home to the world famous Lovell Telescope for another 3-day extravaganza run by an expert production team. TPi drives into the NorthWest countryside to see the stars...

Working on behalf of Ground Control Productions, which has manned events at this unique site since they began in 2012, under the helm of Ground Control Director, Jon Drape, it’s the second time Production Manager Tommy Sheals-Barrett has worked with bluedot in its 2-year history. He began: “We’ve established a really strong group of suppliers and, even though we’ve altered the layout of the festival slightly, everyone had last year’s experience to fall back on. It’s always a bonus to have the same people back on the same site, as you spend a lot less time explaining stuff!

“This year the festival has clashed with some events like MIF [Manchester International Festival] but the suppliers that are working on both have still managed their inventories really well to accommodate us. For me personally, it’s at a slightly better time as last year it came immediately before Kendal Calling - which has the same promoters and a lot of the same crew too.”

Audio and lighting was provided by dbnAudile, with the exception of the Roots Stage, where Noisebox took the reins, while Transition Video provided stage video and projection and Bluman Associates took care of the projection duties on the iconic Lovell Telescope. Decordia Events fabricated and provided the on-site décor, Euro Generators supplied power and DNG were the festival’s production crewing team. The main stage was provided

by Serious Stages, with the rest of the structures taken care of by Concept

Staging.

Sheals-Barrett continued: “Maintaining the lines of communication is so important when everyone’s busy. You know that everybody is under pressure but if you stop communicating then all of a sudden a lot of stuff slips by. Understanding what the problems are outside of the event you’re working on is key because absolutely everybody works on other shows.

“People have pressures from other directions and that is just part of how the industry is. It gives suppliers confidence to talk to me about when they are having problems rather than pretending they don’t. It’s not in anybody’s interest to do that, especially at this time of the year. That’s the key to running this kind of event really - communication and an awesome brew station!” he said, sipping on a perfectly poured espresso.

Just as was the case in the festival’s inaugural year, Sheals-Barrett looked after the Lovell and Orbit stages, leaving the remaining 10 for Dom Morris to production manage. Both Morris and Sheals-Barrett shared management of the other aspects of the festival such as the Lovell projection.

Sheals-Barrett furthered: “The split works really well for us and there are clear lines so that everybody knows which one of us they need to talk to. I think it’s a better way of dealing with it rather than me having an assistant and farming bits out.”

He continued: “I’ve hand-picked a lot of they key positions as opposed 56

PRODUCTION PROFILE

to just putting them on a crew call because they go the extra mile that’s necessary on jobs like this.”

As well as serving as the point of contact for all of the departments on site, Operations Manager Charlotte Denton liaised between the festival and Jodrell Bank itself, which provided all of the science-related content during the weekend. She told TPi: “We’ve noticed that our customers are very organised and very keen to see as much of the content as possible .

We launched an app this year that’s got a search function to help the guests find everything easily. We’ve also added a few new areas to the site and rearranged others based on the feedback from customers last year.

“In addition to the scientific content, music and art installations, the festival also featured a cinema, comedy, experiments and live linkups to different places around the world. We have also introduced a wellness area this year and have Walk The Plank coming back to do The Outer Space, which is a beautiful and immersive night-time experience that combines art, science and music. There’s not really anything else like bluedot and, as a result, the general atmosphere on site is incredible.”

Denton in particular has been building up trust with the centre since 2011, as she explained: “The festival is quite a departure from what usually goes on at Jodrell Bank. It’s an operational research facility for the University of Manchester and it’s only the Discovery Centre that is open to the public from day-to-day. There’s some serious and groundbreaking work going on here, so it’s taken quite a few years to develop the relationship in order to demonstrate that we can produce a great festival both in terms of site layout, production and operationally.”

The Pixies performed as Friday night’s Lovell Stage headliners.

MOTORWAY TO ROSWELL The Lovell Stage played host to arguably the biggest acts of the festival, and was supplied by Serious Stages. The company supplied a 19m Supernova Knee Roof, which consisted of five 3.6m bays and a cantilever. Serious also supplied two 10.8m x 4.8m off stage areas, PA wings and a 7.2m x 4.8m FOH structure, which was decked on two levels. The team also supplied an

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57

BLUEDOT FESTIVAL

Above: Ground Control Director, Jon Drape; Operations Manager Charlotte Denton; Production Manager Dom Morris, Production Office Manager, Jess Webb with Production Office Assistant (and MMU student!) Maddy Lackey who worked under Production Manager, Tommy Sheals-Barrett; dbnAudile’s Rob Ashworth; The DNG Production & Event Crew.

access ramp from stage to the loading dock, 1.2m wide steps and a 7.2m x 4.8m assisted viewing platform to ensure great sightlines for the whole audience.

Aside from these impressive structures, the festival also made sure that attention was paid to the more subtle additions to an already impressive venue. Sheals-Barrett said: “You can’t afford put on a festival in a location like this and not make it look amazing. The Discovery Centre and other science-related areas are already here so we just work with that aesthetic.

Cordi [Ashwell, Director at Decordia] has got a great eye and is really easygoing. She gives us all the information that we need so we can make sure it fits in with build schedules and allows us to consolidate resources.”

2017 was year 2 at bluedot for Decordia, though Ashwell had provided her creative services for From the Fields on Kendal Calling for 9 years.

She explained: “As soon as we heard about the concept, we wanted to be involved. It was so very different to anything else we were doing at the time and gave us a chance to design a festival from a totally different starting point.

“The whole festival concept is based on the magic and drama of space and science, so we wanted to bring the site to life at night using lighting. The arboretum, for example, is full of woodland pathways and sunken lakes.

When these are lit at night the whole space feels like you’re moving through a scene in a science fiction movie. It’s really magical and disorientating, which is a lot of fun!”

She continued: “The greatest piece of ‘decor’ at Jodrell Bank, and of course the star of the show, is the astonishing Lovell Telescope. We use a simple black, white and, of course, blue colour palette on the site so as not to distract from it too much. For example, all of the signage is in a clinical black gloss style, mimicked from the Discovery Centre, and the flags are very simple in design and placed to lead the eye through to the telescope.

All of the different structures are lit at night using kit from dbnAudile, so everything can take on a new illuminated form as the sun goes down.

“The buzz around this festival is well-deserved and has enabled it to become a new learning platform and help everyone to become engaged with science and space. Combine that with music and you have a really unique concept - I love it!”

Sheals-Barrett agreed that one of the event’s main strengths was its

seemingly unchallenged speciality in the festival market: “There are so many festivals now, which means that everyone is looking for their own niche. They’ve certainly found theirs here by holding all of the sciencerelated talks and presentations alongside the musical acts, particularly when combined with all of the extra things to see and do. You could easily spend all day without seeing a single band and that is a big achievement considering how small the site is.”

Euro Generators’ Aaron Harvey-Holt ran the power for the festival, and onsite electricians included Gareth Thomas, Caeron Woods, Simon Chuwen, and Jake Tunney, with assistance from Anthony Viney, Jake Luke, and Dale Land. The main stage was powered by two of the company’s twinset generator trucks, managed by Dave Henderson and Ian Harper. Around 6km of festoon was installed around the site, with the company also providing site power, tower lights and and other general site lighting.

AN AWESOME WAVE Bluman Associates collaborated with Japanese artist, Diato Manabe, and arts organisation Abandon Normal Devices (AND) to create an interactive projection experience on the iconic Jodrell Telescope. From the Fields Promoter Ben Robinson commissioned AND to curate the artwork for this year’s telescope installation. The central idea behind the project, named ‘Cosmos’, was to interact with the academic facilities at Jodrell Bank collecting scientific data from the telescope to inform the visual experience.

Manabe spent time with the scientists at Jodrell bank looking at pulsar data, which is essentially cosmic background microwave radiation - the remnants of the big bang. Manabe created an application where members of the public could, via an interface in front of the projection control area, dial into the radio frequency the telescope was listening to.

Managing the technical programming and projection, Bluman Associates developed custom Notch modules and exposed parameters that could be controlled through the app. This was then translated into the visual imagery that was projected onto the telescope via Notch.

This year, Bluman Associates were able to create an accurate model of the telescope and projection map the structure using the new d3 Technologies GX series media servers. The level of accuracy required to map the intricate structure wouldn’t have been possible using any other server.

58

BLUEDOT FESTIVAL

Above: One of the festival’s art installations; alt-J during their headline set on the Lovell Stage.

“What we did last year with Brian Eno was worlds apart, because we couldn’t identify individual trusses on parts of the telescope. It was a very amorphous, ethereal floating piece, which worked well as it was exactly how the content was designed. What we have this year, is the power to map individual parts of the telescope,” d3 Programmer Rich Porter reflected.

“We have more accuracy because we have the model and d3. Notch allows us to be more creative in the moment, live. We weren’t locked into just playing back whatever we had already rendered, we could react.”

As well as the d3 GX2 rack, 300m of DVI fibre and mains distribution, the company also supplied 8 Barco HDQ 2K40 projectors.

The d3/Notch racks were also used to create custom content for headliners The Pixies. “It was an exciting year for us at bluedot with the new d3 GX series capability - we have lot more power to create more interesting visuals,” stated Pod Bluman of Bluman Associates. “We were also much more involved with in the festival this year, we love the show and are delighted to be working with such a talented and creative team.”

live acts, DJ sets and science lectures. In total we had 25 crewmembers on site handling both departments. Being Manchester-based, this festival is very much on home soil, meaning all our guys had the opportunity to go home at the end of each day.”

Starting off on the audio, Ashworth talked though the various PAs that dbnAudile deployed across the site. “For the main stage we kept a very similar setup to last year’s d&b audiotechnik J-Series, with V-series on the Orbit and Mission Control stages.” Also making a return to the festival was Precise Audio, which Ashworth used on Nebula stage. “We have worked with Aaron Boothe, owner of Precise Audio, for some time beta testing his demo gear and giving him as much feedback as possible when he brings out the new versions of the PA,” commented Ashworth. “It’s excellent kit and always gives us great results.”

Unlike most other festival sites, Ashworth commented that how noise pollution was not as much of a concern. “We are in the incredibly fortunate position that most of the neighbours actually work at the observatory.

This means we can be slightly more liberal with levels than we would be with other events. For example, Orbital’s set on the Saturday night was something to behold, with a level of 118db at FOH. Such levels are fairly unprecedented.”

Despite being able to touch the upper limits on the PA’s capabilities on the main stage, Ashworth did admit that audio bleed from one stage to another was always an issue on the site. “Although the varied line-up is part of bluedot’s charm, it does create an interesting scenario when you have a talk taking place on one stage and a DJ on another. There is always room for

PLANET OF SOUND Providing the complete audio and lighting package was dbnAudile. Director Rob Ashworth, a familiar face at Jodrell Bank, talked TPi through the company’s place within the festival. “Both Audile and dbn had worked on events at the site since the first Live from Jodrell Bank,” stated Ashworth.

“We were providing lighting and audio for all of the main stages across the site including the Lovell, Orbit and Mission Control stages. It’s a great festival to work as it’s so different from any other in the season with the mixture of

59

BLUEDOT FESTIVAL

Above: Transition’s Project Manager, Rhodri Shaw; Decordia’s Director, Cordi Ashwell; Ground Control Director; alt-J headlined the Sunday evening.

improvements perhaps in scheduling.”

For the Lovell Stage dbnAudile provided a versatile lighting package to accommodate all the various headlines throughout the weekend, with a large arsenal of Claypaky fixtures including Mythos 2’s, A.leda B:EYE K10’s, Sharpy beam and washes, and Stormy CC LED strobes. This was rigged using CM Lodestar motors and controlled by an MA Lighting grandMA2 Light console.

The Orbit Stage was a more diverse affair, with Claypaky AlphaSpot profiles, Robe 600 LEDwashes and 100 LEDbeams, and Martin by Harman Atomic 3000 Strobes used alongside Showtec Sunstrip Active DMX Battens and ETC Source Four Profiles. FOH control was from an Avolites Pearl Expert complete with Touch Wing.

An Avolites console was also used on the Mission Control stage, this time a Tiger Touch, for another varied rig, including Martin by Harman MAC 250 Entours and Atomic 3000 Strobes, Robe 100 LEDbeams, Chroma-Q DB-4 LED modules and Chauvet Colorband Pix LED battens. “Lighting wise it was quite a simplistic rig to compliment all the touring acts gracing the stages. Both headliners on the main stage, The Pixies and alt-J, brought in a sizable floor packages. The Pixies brought in their own, ahem, ‘gigantic’ LED screen and we added an extra truss to accommodate alt-J’s rig.”

Another addition to the lighting rig was made for Orbital’s set, where the company added extra Claypaky Mythos and Stormys. “The amount of light coming off from the stage was so impressive,” exclaimed Ashworth, who had clearly been taken by the electro duo’s set.

To close, Ashworth gave an insight into what it was like to put an event on at a working observatory. “I have worked the site several times before bluedot was even an reality,” he began. “Each year we come back, both the visiting crew and the onsite staff learn to work with one another more effectively. Jodrell Bank are effectively partners with the show and they want it to succeeded as much as we do. For example, in previous years we were not allowed to used mobiles on site, which has thankfully been changed now. Simultaneously though, we as the crew always have to be mindful that the observatory is still running with school groups visiting the site through the build.”

Manchester’s own Noisebox Productions provided PA solution for the Roots Stage, which was an area focussed on displaying new talent. The company, which reprised its role from the previous edition of bluedot, supplied the PA, monitors, mixing desks, microphones, DJ equipment and all other necessary cables and power distribution.

Director of Noisebox, James Clamp, commented: “Being an open air, primarily acoustic stage, clarity and coverage were our main considerations when choosing which system to send out. We ended up choosing our Electrovoice Deltamaz DML1152 tops (2 per side) for the job as they work quite well for long throw applications and have quite a wide coverage area.

With these we also used 4 PD1850 loaded CV A subs (2 per side) for when electronic and full band acts took to the stage, providing plenty of bass to fill the area. Even from behind the trees and the art instillations around the stage and the main entrance where we were located, the music was clear and audible without being overly loud. This also added to our PA choice as we were the first stage people saw and heard upon entering the festival!”

Noisebox Productions also deployed its Ohm BR15’s for monitors, which provided ample volume to even the loudest band. Providing both FOH and monitor duties were Behringer X32 mixers. This was mainly controlled via an iPad as it had to be set up side stage. Clamp added: “It was actually quite pleasant being able to sit on the grass in the sun while mixing the acts under

the gaze of the telescope.”

TESSELLATE For the Lovell stage, Transition supplied the 9m x 4.2m ROE MC-7H upstage LED screen, as well as the extra 7.8m x 1.8m DJ riser screen to fulfil Orbital’s rider. Transition’s Project Manager, Rhodri Shaw, commented: “It was great working with Orbital after so many years. Tour Manager Jamie Young and his team were an absolute pleasure to work with it was a great privilege to be involved with the show.”

The company also supplied a 9m x 4.2m ROE MC-7H upstage LED screen on the Orbit Stage, which was specified by Leftfield, who played on the opening day. Shaw said: “We’re currently touring with the band so we also supplied media servers and operators for the show. I’ve never seen Leftfield play a matinee performance but the tent was full and the show was a total success with scientists, kids, parents and their grandparents absolutely having it for the entire set!”

As well as the LED screens for the two main stages, Transition provided a pair of Barco HD20 20,000 ANSI Video Projectors and a 20ft x 11ft screen that was used by various artists throughout the weekend. For the Mission Control area, Transition supplied 3m x 4m x 2m Vies 4mm LED screens. “It was important that the screens were high resolution to deal with the various presentations throughout the day,” Shaw explained. “This was an upgrade from the video projection that was used in 2016. All 3 screens were driven by our Green Hippo Hippotizer Karst media server.

“It was important to have the ability to have a different image on all 3 screens, the same image multiplied on all 3 screens and also one image spread across the 3 screens, so the Karst was the obvious tool for the job. The stage was then transformed into a music venue in the evening showcasing audio visual sets from acts such as DJ Yoda and Algorave.”

Transition also supplied a Panasonic PT-DZ21KU DLP projector and a 20ft x 11ft fast fold screen for this stage, which was used for various artists throughout the weekend.

“We also provided a 4m x 2m Vies 4mm LED screen that was used for various presentations throughout the day on the Contact Stage and a Panasonic PT-DZ13KU DLP projector with 10ft x 6ft screen for the Nebula Stage,” stated Shaw.

Media Server Operators Kate Perring and Jules Hogg looked after the Mission Control and Leftfield stages, respectively. The company also deployed Ricky Hill-Howgate, Carl Stage and Justin Murray as LED Techs.

Shaw concluded: “We’ve worked with Production Managers Tommy ShealsBarrett and Dom Morris for years, and that makes the whole process a lot easier. After a production meeting in Manchester a few months before the event we knew what we needed to implement for the 2017 edition, and the event was a massive success as a result.”

TPi Photos: Scott Salt, Jody Hartley & courtesy of Carousel PR, TPi http://www.jodrellbank.net www.discoverthebluedot.com www.groundcontroluk.com www.fromthefields.co.uk www.dbnaudile.co.uk www.noiseboxproductions.co.uk www.transitionvideo.com www.blumanassociates.com www.decordiaevents.com www.eurogenerators.co.uk www.stages.co.uk www.conceptstaging.co.uk www.dngproductioneventcrew.wordpress.com 60

GLASTONBURY 2017

GLASTONBURY 2017: THE HIGHLIGHTS PART 2 www.glastonburyfestivals.co.uk

AFRO CELT AT ARCADIA Afro Celt Sound System took up residency in Glastonbury’s favourite arachnid where TPi Award-winning Monitor Engineer, Jac Turner, mixed. The engineer described her experience: “Arcadia is certainly a challenging performance to work on, although Afro Celt was a serious contender for my career highlight of this year.”

Mixing from a fair distance, way out of the main sound field, both FOH and monitoring from the same DiGiCo SD10 console, she pulled it off effortlessly. She continued: “Disentangling RF and huge amounts of spider metalwork meant I certainly had my work cut out, but in the capable hands of Arcadia’s own Matthew Howes - Arcadia’s Sound Sytem Tech - I felt that we won!”

During the weekend, Johnny Kalsi’s live Dhol drummer troupe performed a set right under the body of the spider keeping in time with the music. “The audio landscape demanded a delayed IEM feeds to help keep them with the beat the audience were hearing, N’Faly Kouyaté playing his Kora up and down the gantries of the spider whilst singing on a headset mic that hadn’t bargained for the all surrounding PA facing him,” explained Turner.

“This Glastonbury collaboration between Simon Emmerson of Afro

Celt Sound System, Pip Rush and Bert Cole from Arcadia, Barry McGuire from the Wadjuk nation and 2 Lakota water protectors from Standing Rock.

Inspired by an Arcadia performance in Perth whereby Arcadia came into contact with Barry, a senior member of the Aborignal Wadjuk Noongar people, and performed under an ancient hill where - in Wadjuk culture their ancient Dream Spider lived. Said to be a key spirit / symbol in their tradition, it was called upon to weave a web of unity around the gathered tribes. Their ancient Spider Spirit song (of which Barry is the custodian) hadn’t been performed in public since 1901 and the song had never changed!

“Creatively, it was building on that sense of fusion and storytelling and folk memory while technically it was about using the arena differently and expanding the spectrum of possibilities of live music on the Spider - from bagpipes to live drummers,” stated Turner. “It was a technical experience and a half - especially given it was, for the Afro Celt side, a fleeting festival setup, and one I can say honestly that I’m proud to have been involved with.

Credit & thanks goes out to the Arcadia Production team for making Afro Celt Sound System and myself so very welcome.”

TPi Photos: Shirlaine Forrest www.arcadiaspectacular.com www.afroceltsoundsystem.org.uk 62

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GLASTONBURY 2017

NEURON PRO AUDIO The monitor set up comprised 2 PG45 prototype DJ monitors (dual 15inch sub and coaxial 15-inch mid-high with custom Volt drivers), 2 Danley SM80M wedges set-up in 4 point mains with the Jericho horns, subs were in 3 point cardioid configs to obtain cancellation in the direction of the village of Pilton, for local residents, and other stages in Shangri-La. The OS80 were hung just to cover the walkways around the very top outer edges, ran very gently to fill in - same for the SH96 which just covered the people right against the DJ booth. At FOH was a new Allen & Heath dLive C3500 surface with DM64 stage box.

Neuron’s Kyle Marriott said: “The brief for the stage from the design team of the Common, was to minimise the ‘DJ as a god’ feeling that you often get with stages of this size (ca. 5000) - to that end, the bleachers and walkways were built in the round so the majority of the crowd faced each other, rather than a large stage. Likewise, the DJs and performers were housed in a small, ground level pavilion, with the focal point being the large projection mapping of the Aztec inspired head piece.

“To aid in this, the brief was to distribute PA around the space so that the public were always able to have a loud but clean experience, without any one singular position being overbearing in relation to the rest. It was also important that the structure was visible from all angles, which negated any long hangs .”

The Clash area had a Void Acoustics Air Array, 4 Void Acoustics Hyperfold, 12 Void Acoustics Stasys X Air in end-fire array, 2 Powersoft X4, 2 Powersoft K3 DSP, 6 Powersoft K20 DSP. The monitor system comprised 2 Void Acoustics Stasys 2 wedges, 2 Void Acoustics Air Stream DJ monitors, 2 Void Acoustics Stasys Xv2 DJ monitor sub and a Powersoft X8 amplifier.

Marriott continued: “We each deployed 12 dual 18-inch subwoofers to keep things fair in the low end, in a tuned end-fire cardioid configuration to create bass nulls towards tanother very close stage. We chose to use our flagship Void Acoustics dance stack, the Incubus System, to cover everything 60Hz up. We actually commissioned the first touring version of this install system back in 2013, it’s monstrous, silver, very recognisable, and sounds absolutely insane, so it was an easy choice to go up against a wall of Noise Control Audio speakers!”

TPi Photo: David Jensen www.neuronproaudio.co.uk

For 2017 Neuron Pro Audio provided sound to The Temple stage in The Common, as well as The Clash in Shangri-La, both located in the South East Corner. The Temple’s sound design consisted of 2 Pure Groove by Danley PG-J94 Jericho Horns, 2 Danley J3-94 Jericho Horns, 4 Danley OS80 (bridge fill), 2 Danley SH96 (front fill), 16 Danley TH118 tapped horn subs in endfire array at front L-R, 6 Danley TH118 in CSA cardioid array at rear, 5 Powersoft K20 DSPs, 3 Powersoft X4s, a Danley DNA SC48 DSP and 2 Danley DNA 20K4 PROs.

EAT TO THE BEAT Eat to the Beat, the artist, production & crew catering division of Global Infusion Group, is proud to be forging ahead with its eco-friendly approach to event catering as it returns to Glastonbury Festival for the 19th successive year to provide the backstage catering for artists, crews and support teams.

Eat to the Beat, who are the UK’s leading entertainment industry caterer, will support four main areas, including Pyramid crew and BBC, Pyramid artists, Other Stage and Aggreko - providing fresh, delicious, local food throughout the four-day festival which starts today.

Eat to the Beat supports the eco-friendly ethos of Glastonbury, which matches its own established commitment to reducing environmental impact. The company already use recyclable and biodegradable disposable service-ware, discourages water wastage and ensures local provenance, to help the local community suppliers and reduce the carbon footprint from traffic where possible. “We are committed to reducing our footprint wherever possible,” said Eat to the Beat’s Global Operations Director Mary Shelley-Smith. “We not only use locally sourced products, but use the on-site wholesale market for fruit, veg, dairy and so on. We are

also very proud to have achieved the internationally recognised standard for the environmental management of business (ISO 14001), which has been awarded to only 1% of UK businesses, as well as ISO 9001, which assesses the quality management systems in place within the business.”

As part of Global Infusion Group, Eat to the Beat run a number of environmentally-friendly schemes including a car share initiative and the use of eco-friendly chemical products. Shelley-Smith added: “It is in our interests socially, environmentally and fiscally to reduce our impact because more often than not, positive environmental management practices actually reduce the cost of certain operational strategies. For example, the use of recyclable disposables reduces our staffing and waste water costs. It absolutely makes sense.”

Eat to the Beat always try to buy produce with minimal packaging and work with suppliers to reduce packaging even further where possible.

The team are responsible for keeping crews and artists fed and refreshed throughout the festival, during the build-up phase and while the site is cleared. The festival has long held a ‘green’ and sustainable ethos, with more than £250,000 being raised for Greenpeace, Oxfam and many local charities in 1993.

TPi www.globalinfusiongroup.com 64

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AUDIO-TECHNICA Once again, Audio Technica had several products in use across the Glastonbury festival site. “At this year’s festival, our focus was all about reliability and simplicity,” stated Edward Forth, Global Artist Relations and Brand Projects Manager.

“Instrument microphones were the big hit this year; we showcased our latest ATM350a cardioid condenser microphone which benefits from its easy to use, versatile mounts. We also deployed the ATM230, which provide a sturdy, reliable sound on toms.”

The Audio-Technica AT4047 were also present for Royal Blood’s increased amplifier set up [the band’s hugely popular Pyramid stage performance is pictured], as well as utilising the AT4060A to make a wall of sound for the Brighton-based rock duo.

Another band to make use of Audio-Technica’s products were Oxford’s Ride.

“The band are still relatively new to the Audio-Technica family, yet the rig now mainly comprises their products,” stated Ride’s sound engineer, Stu Macaulay.

“There has been a noticeable improvement in guitar and vocal sounds since. We are using an AE2500 on Andy’s [Bell] guitar, 2 4050’s on Mark’s [Gardener] guitar and AE6100s for vocal microphones. We are also using the new ATM 230’s on toms which is proving to be a really great sounding microphone.”

TPi www.audio-technica.com

MUSIC BANK Music Bank has officially provided backline, risers, crew and services to Glastonbury since the company opened in 1994. It provided a pair of 45ft trailers of backline, which were used as static shops, based on the dock of The Other Stage, as well as a 7.5 tonne truck and 2 Sprinters as satellite delivery vehicles.

Director of Music Bank Jimmy Mac (pictured left with the company’s Crew Chief, JD, right), told TPi: “Glastonbury has grown so much since we first got involved and, as there are now live acts on the Thursday, we have to supply staging and backline on the Wednesday. This means we have to be on site for a week now. The fact we have been involved for so many years means we know every nook and cranny and of course all of the site’s ‘quirks’ as well!”

Music Bank provides backline and risers direct to stages for their generic use and to service their acts throughout the weekend, as well as catering for artist-specific packages. This included the Pyramid and Other Stages, West Holts, John Peel, Park, Acoustic, Arcadia, Silver Hayes, Shangri La and Latino.

Mac said: “Our biggest artist request this year came from our old friends Chic. Having worked closely with them on previous festival shows and having supplied backline and crew for tours, they know they could trust us to have the can-do attitude needed to make their show a success! We also supplied backline and crew for many artists as varied as Run The Jewels, London Grammar, Stormzy, Future Islands, Boy Better Know and the Foo Fighters.”

Music Bank’s build-up took a number of months, as did the fine tuning of requests and logistics for the festival and artists - as well as covering other summer shows. McNally continued: “As we have time-sensitive drops and are the official suppliers for any last minute requests or to replace any damaged equipment, we are basically on call 24 hours. Our long and trusted relationship with the site means we are issued with special vehicle passes meaning we are allowed to break any on site curfew. On site we really are the fourth emergency service! Despite that we can usually find a little bit of down time to enjoy a catch up and a wee drink!”

He continued: “Glastonbury and the artists already know we have the biggest selection of backline available in Europe and are a true onestop shop. They know from placing the initial order to looking after any endorsee needs, sorting transportation, suppling backline techs or even

the strangest request, they will be taken care of by my knowledgeable, friendly team. We can be depended to get the job done and with a smile no matter what and it has to be said that in recent years with the, shall we say un reliable British summer, that is a major feat!

“We also have a shop on site and carry a massive amount of consumables as well as spare rental stock. As mentioned before we have such a great relationship with the production and other service suppliers they know they can count on us to replace a lost piece of hardware or - as has happened in the past - supply an easily forgotten grand piano or a full backline crew!”

Mac concluded: “I have a small but perfect crew of 4 who know the site very well and can find themselves driving, prepping or crewing from one hour to the next. As always the crew is headed by the unflappable Jon St Claire, known to all as JD. I would definitely give a massive thank you to Jules Sparrow, my booking manager who personally takes care of every Glastonbury booking, and still finds time to bake her famous lemon cake for the regulars! It’s a joy to be part of this crazy festival family!”

TPi www.musicbank.org 66

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CHAMSYS Like the free-flowing blend of eclectic music that floated through the summer air at Worthy Farm, ChamSys consoles were impossible to miss at the 2017 edition of the Glastonbury Festival. From the Other Stage, where superstars performed, to the Silver Hayes WOW Stage, where LDs cooked up hot looks for EDM artists, ChamSys products were everywhere at the festival.

“We had some good things going on at Glastonbury this year,” said James Harrison, support manager at ChamSys, who along with software engineer James Crickmere, and personality/support specialist Dan Coombs, represented the company at the five-day event. “There were a wide variety of our products at the festival, used in a wide range of different applications – and I’m pleased to report that everyone we spoke to was extremely happy with their performance.”

A MagicQ MQ500 Stadium served as the house console and was available to all touring LDs on the Other Stage, which was supplied by Neg Earth Lights. Another MQ500 served as the console on the Bloc 9 Genosys structure (supplied by Coloursound Experiment). Both were enthusiastically received by lighting designers and programmers. “Jason Hyne, LD for the Kaiser Chiefs, usually uses his own MQ80, but he worked with the MQ500 console on the Other Stage and was very happy,” said Harrison.

At the Park Stage, a MagicQ MQ500 Stadium, supplied by South West Group Events, excelled as the house console. “The two HD resolution multi touch displays on the MQ500 were great for setting up layouts,” said Steve “Mac” McCracken from South West Group. “You’ve got plenty of real estate to have everything at your fingertips without having to change between multiple layouts.”

A MagicQ MQ80 console and extra wing supplied by Fineline Lighting was used to create stunning looks for EDM artists at the Silver Hayes WOW Stage. In addition to working wonders on the WOW stage, the MagicQ MQ80 served as the house console on the BBC Introducing Stage and Left Field (both supplied by South West Group Events). Another ChamSys console, the MagicQ MQ200 Pro2014, supplied by GLS Lighting, was deployed at the Avalon Stage.

Visiting LDs also brought their own ChamSys consoles with them to

Glastonbury. The LD for Little Dragon, Jonezy ‘Lights’ Jones, worked on the West Holts Stage, touring with his own MQ80 console and Extra Wing.

Peter Zellan, Father John Misty’s LD, used his own MQ80 and extra wing on the John Peel Stage. Other visiting LDs using ChamSys included: Josh Mansfield, who ran the show for Future Islands on the John Peel Stage with his MQ80 console; Mark Hilditch, who brought his own PC Wing setup to the John Peel stage for Cabbage; Matt Waterfield, who relied on an MQ80 with an extra wing setup for Joe Goddard at the Park Stage; and Manuel Rodrigues, who called on his MQ80 console for Noisia’s performance on the Silver Hayes Sonic Stage. LD Olly Suckling and board operator Mark Hilditch used the MQ 500 in their work for Temples. Suckling also used the MQ500 console for Circa Waves on the Other Stage.

Looking back at his Glastonbury experience, Harrison expressed pleasure with the performance of the ChamSys products. “A five-day festival calls for versatility, performance and reliability on the part of a house console,” he said. “The MagicQ Stadium MQ500 showed that it was more than up to the task at Glastonbury.”

TPi www.chamsys.co.uk

CREATION LIVE Creation Live provided sound and lighting for the Beat Hotel. This was the third year that Creation Live had been involved with the stage, providing sound, lighting and site power distribution for the 2,000 capacity bar/stage area.

The Beat Hotel has DJs playing music continually from 10am - 3am. Designed to mimic an American ‘70s motel, the venue consists of a complete stage set, built by Gorilla Events. A combination of Showtec Sunstrip Active DMX, Chroma Spheres, Robe LED600 Washes and Robe 100 LED Beam fixtures were used to light the stage set and marquee. Lighting control was via an Avolites Tiger Touch, programmed by Creation’s James Steventon.

At the audio helm was Ed Tuffin, who utilised a range of Martin Audio loudspeakers to cover the venue’s audio effectively. The sound was mixed on a Yamaha CL1.

TPi Photo:: Shirlaine Forrest www.creationlive.co.uk 68

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ON LX

This year saw the Greenpeace field take a leap into the future. With the theme of ‘forests’, the creative team ran wild designing structures visible from across the site. The most noticeable element of the field consisted of a huge 18m tree constructed by Factory Settings.

When combined with ON LX’s bespoke lighting solutions, punters could interact with the 40 Universes of WS2811 Pixels within the tree.

This interaction, triggered by a plethora of Raspberry Pi setups, was crafted by Bailes+Light’s Barri Mason. For this setup, GPIO inputs were utilised to allow OSC to trigger the system creating an effective way to communicate Greenpeace’s ideas through punters participating in the activity. This lead to people becoming more engaged with the campaign and influenced to consider future behaviour.

In this case, linking hands around the ‘Giant Rave Tree’ completed a circuit causing caused two sensors to trigger large LED Mapped chases showing punters how working together could achieve things that may seem impossible alone.

Bailes & Light took care of architectural, aesthetic and functional fittings, masterminded by Ben Bailes. Whilst ON LX provided all control, infrastructure, programming and operation of entertainment lighting.

RDM via an Enttec USB Pro allowed addressing of the 51 SGM fixtures from the ground, significantly reducing the time required for rigging.

Alongside the big looks created for the DJ Sets and ambient sessions

sat an extensive time-coded light show. Titled the ‘Four Seasons Show’, the sequence lasted 15 minutes and displayed the tree throughout the seasons. The show was programmed on a HedgeHog4 by ON LX’s Matt Didon and involved a wide range of fixtures and atmospherics including two large snow machines from Snow Business. Matt Didon added “The SB200’s from Snow Business were fantastic units that helped create the idea of the seasons. The instantaneous output and variable flake size allowed us to quickly create aerial effects with lighting fixtures and the RTI Femto RGB lasers. Having these units was certainly beneficial as smoke or haze in such an open environment definitely provided some challenges.”

The timecoded lightshow interfaced with ON LX’s custom Spektrum Systems™ hardware which saw its debut at Glastonbury. Providing rock solid performance, the two Spektrum machines balanced workload handling pixel mapping, show playback and audio output independently.

The pixel mapping was programmed by ON LX’s James Walton using ENTTEC’s ELM software. Once setup, the system was interfaced with the main lighting system and remote triggers allowing for intuitive control.

ON LX’s James Walton added: “Massive thanks to the guys on the Greenpeace build crew for the invaluable contribution and to ENTTEC, Snow Business International Ltd, Dry Hire Lighting, SGM, White Light and AC Lasers for the support given and kit lent we wouldn’t have been able to do it without you!”

TPi Photo: Matt Didon, ON LX Ltd http://onlx.ltd 70

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MOJO BARRIERS For its 13th year, Mojo were on site delivering a total of 1,400 meters aluminum stage barriers across 16 stages at Glastonbury 2017. Mojo Barriers’ Project Manager Jim Gaffney has been a Glastonbury supplier for nearly quarter of a century developing the barrier configurations across the site. This year 15 new line-up gates and one Mega Gate in the south-east corner of the arena at the entrance leading to the campsite, which reduced the queuing at that bottleneck. Gaffney commented: “The new gates we introduced at the south east corner worked perfectly and eradicated the problems that have occurred there in the past.”

Also present this year was Mojo’s secondary barrier systems and the Pyramid and Other stages. “The secondary systems for the Pyramid Stage and Other Stage once again gave the audience a safer event and also allowed security staff more access to the audience,” stated Gaffney.

Mojo’s main contact on site of the Pyramid stage was Site Manager, Jerry Milichip. “Jerry and our crews work very well together,” said Gaffney. “He understands the way we work and why we do certain things because of his experience with barriers. Having him in a senior role was a huge help as he had made all the ground preparations we needed and logistical details like having enough forklifts at the right time to make our installation quick and efficient.”

TPi www.mojobarriers.com

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ENTEC SOUND AND LIGHT Entec’s recent investment in TMB’s new, versatile Solaris Flare Q+ LED fixture was one of the big highlights of Clean Bandit’s production on the John Peel Stage at Glastonbury in June. Designed by Rob Sinclair, the stunning performance by the classically trained electronic music act was part of a European festival run for which Entec has provided a comprehensive lighting package, with LD and programmer Liam Griffiths at the helm of an MA Lighting grandMA2 Light console.

The west London production rental company, which has supplied 19 of the Flares for the tour, added the fixtures to its inventory after their increasing worldwide popularity prompted discussions with TMB’s Paul Hartley. “There’s no doubt that Solaris Flares are now a standard worldwide and the Flare Q+ is a real step forward,” said Will Wright, the Entec lighting department’s senior service technician who shares crewing duties on the tour with colleague Lee Stennett. “So many projects coming through Entec are now specifying the Flares and client choice is always a catalyst for investment.”

Wright continued: “The Flare Q+ operates as both a strobe that combines extreme brightness [so bright that Griffiths runs them at a maximum of 70% power] with very good colours, and as a wash light that looks great on camera. With other strobe models, we’ve noticed that as soon as you try to introduce colour, it affects intensity output. That’s not an issue with the Flare, whose performance also doesn’t suffer when you transition between wash and strobe functions. It really does both of these things very well without any notable sacrifice.”

Positioned upstage and at both sides of the performance area, the Flare Q+s are fitted with TMB’s Kasmer diffusers that are key to the flavour of Liam Griffiths’ overall approach to the lighting. Wright observed: “Liam was keen to hide the LED sources, especially at Glastonbury where it’s important to be camera-friendly, and with the diffusion added, the result is a very bright, almost ethereal glow - you just don’t notice the fixture itself.”

In addition, Entec’s package includes 7 Martin by Harman Aura XB washes for key light on the risers, and three Tomcat towers either side of the stage, each of which is rigged with a pair of Martin by Harman MAC

Axiom hybrid fixtures providing beams and spots.

Travelling with Production Manager Tec Beint and Tour Manager Andrew ‘Wilkie’ Wilkinson, the production also features a set of seven upstage rotator pods, custom-designed and built by Specialz with co-operation from Entec, who supplied 70 Martin VDO Sceptron 10 1,000mm linear LED battens for integration. Capable of rotating 360 degree, each pod consists of a panel of 10 Sceptrons with a laser-etched mirrorball finish on the reverse side.

Will Wright said: “When these pods spin around and the lights on the side towers hit them, all the beams reflect off to produce a brilliant, dazzling effect.”

Following rehearsals at Cato Music in London, Clean Bandit’s European summer festival tour kicked off in May with Radio One’s Big Weekend, and went on to include the Isle Of Wight Festival, Wild Life in Brighton and Forest Live in Thetford Forest. The tour continues until September 3rd with appearances at Y Not, Standon Calling, Sziget, Pukkelpop, V and MTV’s Gibraltar Calling, after which the band head to America.

TPi Photo: © Liam Griffiths www.entecLIVE.com

ENTEETAINMENT’S STAGE MANAGEMENT EnTEEtainment’s, Frankie Tee was taken on by the BBC Live Events and Introducing Team to advance the requirements of the BBC Introducing Artists and then Stage Manage over the weekend. Sam Wilkinson of Cato and Josh Pendlebury a Backstage Academy student (pictured left and right, with Tee, midddle), were an integral part of the stage team helping with everyone’s load ins and changeovers. ”Overall the technical awareness of the introducing acts has massively developed in recent years and more and more of the acts want to bring their own equipment and systems,” commented Frankie Tee, Director of EnTEEtainment. “The Introducing Stage has always traditionally run with short set times and quick changeovers but these changeovers are becoming more challenging as the acts grow. This year, it was particularly tricky and at times caused us to run slightly behind putting further stress on the ‘live to Radio’ moments which is obviously very important for the BBC Introducing Brand. We did always make time back for those moment with Blossoms, Glass Animals, Slaves and George Ezra thanks to such a brilliant team onstage, but it was definitely too close to the mark and something I’d want to relook at if I’m asked back next year.”

TPi http://enteeuk.com 72

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RIGGING SERVICES Rigging Services once again supplied all the ground support and rigging for the popular John Peel stage. This included the main ground support system. As is usual though, with each year, a few changes were needed; the stage had to accommodate a 1.5-tonne mirrored wall that was installed specifically for Saturday night headliners, Phoenix. With a lot of careful planning this was achieved without removing any of the other fixtures from the ground support design.

The venue housed 55 electric hoist motors with over 45 being attached to the ground support that reached just 14m wide x 9m deep.

The John Peel stage also played host to a secret performance by The Killers on the Sunday evening, with crowds lining the surrounding field to get a glimpse.

TPi https://riggingservices.co.uk

Photography © Liam Griffiths / www.stagetechniques.com

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VER

For the third year running, Glastonbury Festival’s Yasha Morgenstern and Emma Reynolds turned to VER London to supply LED screens, control, and signal distribution for their two main stages. Working with Jay Ellis from Production Network, Glastonbury’s video systems co-ordinator, VER also supplied fibre signal distribution and peripheral video processing. With Glastonbury being the rare beast that attempts to accommodate the needs of all acts not just the headliners, the house LED screens consisted of not only standard IMAG screens either side of stage, but massive installed upstage screens, and roll-on / roll-off configurations for smaller artists during the day.

VER also throw down a mass of fibre at each stage to accommodate the various needs of each artist, almost all of whom want to put their control and playback system in a unique position or a unique configuration.

Gluing it all together and handling all scaling and switching to the screens are a dedicated Barco E2 Encore processor on each stage and a selection of fibre optic adaptors from all areas of the stage and front of house, with it’s own dedicated crew on each stage.

There’s day shift to keep things under control and a night shift to turn things around for the following morning. The VER crew of five full time staff and thirteen freelancers stay busy.

For Sunday night a custom LED build for the Ed Sheeran headline VER installed a huge custom LED screen onstage. As the BBC broadcasts and webcasts live to a worldwide audience there was no room for mistakes or unreliable equipment. With the exception of the upstage screen on the Pyramid Stage, all screen was VER’s core touring screen, Winvision 9Air.

after the Radiohead headline in time to have the stage clear for the first act on Saturday. This screen was used for primarily for the Foo Fighters headline on Saturday night then reconfigured for the Ed Sheeran headline, again overnight, with other artists using reduced areas of the screen.

Ast the upstage screen was primarily used by the headliners, VER built a custom 12m x 4.8m rolling screen with Winvsion 9Air in lightweight ‘factory’ frames on five rolling truss towers. Fully ballasted and braced once in position, this smaller screen served the day time acts on Saturday.

THE OTHER STAGE Glastonbury’s second stage was a simpler proposition, with its standard stage structure. The IMAG screens were again rigged from two goalpost structures and were completely exposed to inclement weather. VER rigged two 8.4m x 4.8m Winvision 9Air screens, certified with VER London’s custom windbracing bracing calculations and bracing truss. VER supplied all rigging and control. The upstage screen on the Other stage was 15m x 7.8m of Winvsion 9Air. Rigged on the Thursday, this screen stayed complete for the whole weekend serving the headliners every night. The rolling screen on the Other stage was slightly larger than Pyramid at 14.4 x 4.8m, and used the full touring frame version of the 9Air screen on custom dollies. Spending the weekend getting rolled on and off for various acts, it finished on Sunday night and was split into six individual columns in front of the large upstage screen, all getting used for the final act of the weekend, Boy Better Know.

TPi Photos: Shirlaine Forrest www.ver.com www.pronetworld.com

THE PYRAMID STAGE The legendary main stage at Glastonbury presents a unique set of challenges, with the stage structure deceptively small because of it’s shape VER work closely with Neg Earth Lights’ Andy Porter and Julian Lavender to make everything fit.

The IMAG screens are rigged off two goalpost structures and are completely exposed to inclement weather common at the festival. VER rigged two 12m x 7.2m screens in VER’s RS touring frames. This is a repeat of the last three years, with VER London’s custom wind bracing bracing calculations and bracing truss attached to the structure allowing for a fully certified 25m/s wind loading to comply with UK Temporary Demountable Structures regulations.

This year the main upstage screen on the Pyramid was 15m x 8.4m and 126sqm of Revolution RS5. With the same touring frame structure as the Winvision 9Air, this screen assembled very quickly overnight on the Friday 74

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ROBE & SWG EVENTS have a design that functioned well in providing a quality visual experience whilst still being able to have control of a high quality light source, which the Robe fixtures can handle with ease with their excellent LED sources.”

Brown went on to discuss how the PixelPATT was an ideal fixture for such an event.

“The PixelPATTs were chosen, just as they were last year, to create a warm, interesting backdrop to the stage. However the idea of a cluster of colour changing PATT style fixtures was an exciting prospect. This not only meant that with the excellent tungsten emulation we could create a fresher design, but also being able to run more than one colour allowing for interesting chases and effects. Both these factors lent themselves well the many music styles we had throughout the festival.”

The versatility in the lighting design was not just beneficial for the various artists playing on the stage but also for the special evening slots where Radio 1 DJs would do live broadcasts from the tent. This meant the lighting design also had to be fitting for dance music. “Again, the bright, colour-changing fixtures provided in support of our client, SWG, were more than capable of delivering this, with the PixelPATTs and Halos being complementing each other perfectly to create a stunning backdrop of cool lighting effects,” commented Brown.

The Sales Manager outlined the feedback recieved since the event: “The BBC loved the look of the warm tungsten glow that comes from a generic PAR 64, and in previous years had multiple banks of these to create stunning backdrops to the stage. This was an ideal time to use the Robe Halo, as it still utilises the PAR 64 whilst adding a new element to it, which worked really well.”

During the festival, the tent hosted around 8 bands a day with 3 bringing in their own LDs. For those that didn’t, the various artists were left in the capable hands of Operator, Zac Leighton. The stage was also manned by Mark Bott, Operations Manager for SWG and Colin Jones, SWG’s Lighting Crew Chief.

Brown gave his final thoughts: “As well as our work with BBC Introducing, our various customers supplied almost 600 lights across the whole Glastonbury site and I’m happy to report we didn’t recieve a single service call out! Instead, we spent out time with all the end-users we don’t usually see as they’re normally touring the world.”

TPi Photo: Greg Westwood, Robe UK www.robe.cz www.swgevents.co.uk

Making a return to this year’s Glastonbury fetsival was Robe’s lighitng fixtures, which featured heavily on South West Groups (SWG Events) BBC Music Introducing stage. This area showcases the UK’s finest under-the-radar musicians and the best new acts alongside some special, surprise slots from BBC Music Introducing’s finest alumni.

Robe first got involved with the stage back in 2015 in collaboration with SWG Events and has continued to build a strong working relationship with the organisation. This year a whole selection of products was used on the stage including 8 Robe DL4X, 6 PixelPATTs and 12 Halos, all of which were controlled via a ChamSys MQ80.

Discussing the manufacturer’s involvement was Ian Brown, Robe’s UK Sales Director, who said: “The BBC Introducing stage takes place mostly during daylight hours and is broadcast live. Therefore it was essential to

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GLASTONBURY 2017

BPM SFX

Various artists utilised the expertise of TPiAward winning BPM SFX across Glastonbury weekend inclsuing Dizzee Rascal headlined The West Holts Stage on the Friday with Magic FX Co2 Jets, Galaxis G-Flames Stage & wing pyrotechnics and a few hits of confetti & Streamers from Magic FX Stadium Shots. Boy Better Know headlined The West Holts Stage Sunday with Huge 5 Finger Chameleon Flames in the pit & Galaxis G Flames across the down stage edge, Halsey’s production design utilised Co2 Jets & G Flames.

Elsewhere Major Laser was part of a festival touring package using Magic FX Co2 Jets, Magic Fx Power Jets, Magic FX Co2 Guns, Magic FX Flamaniacs, T-Shirt Guns, Magic FX Stadium Shots, Magic FX Stadium Confetti Blasters and a huge amount of stage pyrotechnics. Emeli Sandé chose 2 Waterfall moments, and recent TPi star, Stormzy, benefitted from

2 hits of Stage Gerbs. All Pyrotechnics & G Flames were controlled using the Galaxis Wireless Firing System, Flamaniacs & Chameleons & DMX Confetti Blasters were operated using an Avolites Tiger Console, custom firing packs were used to control Co2 Jets, Stadium Shots.

‘Glastonbury is always technically challenging due to the size of it, but we take great pleasure working on one of the most prestigious festivals in the world,” stated Liam Haskell, BPM SFX Technical Director.

“We always love working with our artists on any festival, but working on Glastonbury is a bonus; it can be challenging to work across the different stages across the weekend in terms of managing the crew but our team have vast experience on festival sites so it always runs smoothly,” added Tom Stead, Head SFX Technician.

TPi Photo: Major Lazer by Shirlaine Forrest http://bpm-sfx.com

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GLASTONBURY 2017

FINELINE LIGHTING Fineline Lighting once again supplied various stages across the Glastonbury festival site.

Their 2017 projects included the Acoustic Stage for lighting, rigging and décor; The Astrolabe Theatre and Circus Stage for lighting & rigging duties; Cabaret Stage for lighting, rigging, décor and the WOW! Stage for lighting, rigging, video, video content. With a multitude of technical offerings throughout the site, Fineline is no stranger to Glastonbury, having been involved in some capacity over the last 25 years.

Managing Director, Rob Sangwell, talked to TPi about the 2017 event: “This was was exciting for us as we had various new toys across the stages we were working with. Some of our new inventory sent to Glastonbury included Martin by Harman Pro VDO Face5 LED video panels, Martin by Harman Pro P3-300 video controllers, Chauvet Professional Maverick Mk2 Spots, Chauvet Professional Maverick Mk2 washes and Chauvet Professional Maverick Mk1 Hybid fixtures.The other exciting thing was

the lack of mud; everything seems nice and straight forward when that happens!”

TPi Photo: Shirlaine Forrest www.finelinelighting.com

MARC GRAHAM, PRODUCTION MANAGER “What a fantastic career highlight!” stated Marc Graham, most often seen in the pages of TPi as a monitor engineer for the likes of award-winning British songwriter, James Bay, when telling us about his first Glastonbury crew experience.

“I got to work with a great team on the Pyramid stage - from audio, lighting, rigging and video, to the stage crews, right through to our hospitality team, the sitewide crew, catering, backline, security and transport; everybody made it a great experience. We tried to make each crewmember feel part of the team, in whatever role they were working in, and to feel like an integral cog within the machine running one of the most iconic stages at the most iconic festival in the world! Importantly, the team followed the mantra ‘be nice at all times’, and I think the results of the weekend spoke for themselves - well done everyone, I was proud to be a part of it with you.”

TPi linkedin.com/in/marc-graham

DYNAMITE FX Dynamite FX provided special effects to British songstress Charli XCX during her performance on The Other Stage. The 50-minute set included an array of special effects which were fired during key songs. The company deployed 6 Impact FX Co2 Jets, 10 Magic Stadium Shots, a pink confetti Hit and a Pink Streamer Hit. Dynamite’s Founder & Director, Joe Knight, told TPi: “These effects were chosen to give the best visual impact, the Co2 was triggered to the beat of the music and stadiums shots were chosen due to their versatility.“ The company has been working with Charli XCX for 2 years, collaborating on her UK and international shows, but Glastonbury 2017 was the biggest show undertaken as far as the stage effects were concerned.

Love continued: “We had to upscale the type of effects we used in order to cater for the size of the stage at this festival, and the outcome was brilliant.”

In total Dynamite had 3 special effects crew on site, led by Head Technician Matt Bailey. Knight continued: “I was personally on site to oversee the show from start to finish along with another of our technicians.

Our working conditions were great we had no mud to deal with this year!

In previous years we have been involved with supplying smaller stages including Heaven and Hell in the Shangri-La area, and the Rabbit Hole - but

this was our first ever main stage size job at Glastonbury. I’m pleased to say it was a huge success.”

TPi Photo: Jenn Five http://dynamitefx.com 78

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GLASTONBURY 2017

SGM Party vibes were strong, pure and neverending at Worthy Farm, when the 47th edition of Festivals are times to celebrate positive solutions to our earthly contemporary issues and thus ‘Stand for Forrest’ was a key message at this year’s Glastonbury’s Greenpeace Field.

The huge rocket from last year was transformed into a show-stopping 20m tree, where DJs played until the early hours washed in colourful and beautiful SGM light. The huge tree came alive at night and was a must see feature this year for the 170,000 festival guests.

The Greenpeace Field at Glastonbury festival has long been popular among festival-goers thanks to their free hot showers and delicious veggie food available at their cafe. This year their mission was to spread awareness regarding deforestation, and the main attraction was an artificial tree created to emphasise the important role forests play in maintaining the health of our planet. At night, it served as a hub for DJ sets and during the day it stood tall as an environmental beacon. Did you know that an area of rainforest the size of Glastonbury is destroyed every 15 minutes?

AN IMPORTANT ENVIRONMENTAL MESSAGE When you build a tree with such a sustainability message, it better be sustainable and Greenpeace and their creative team came through with nothing less. They made sure the tree structure was build out of carbon positive building materials, renewable wood from well-managed Irish forests and of course the lighting also had to be the sustainable choice.

Several SGM G-Spots, G-4’s and G-1’s were rigged in and outside of the tree; all fixtures designed to deliver stunning colours and superior optical performance, regardless of location and meteorological conditions. Not only are all fixtures deployed IP65-rated and thus maintenance-free and multi-environmental, they also guarantee a long LED lifetime and a low power consumption.

The Greenpeace Glastonbury Build Crew spent nearly two months constructing the structures in the Greenpeace Field in preparation for the 5-day music festival. The Greenpeace Field, which also featured a

skate ramp, a climbing wall, Power Ballad Yoga and a Virtual Reality Dome allowing visitors to be immersed within the Amazon Rainforest, were entirely illuminated by SGM lights.

TPi http://sgmlight.com

TRIPLE E Triple E supplied a ModTruss centrepiece for the Greenpeace Field at Glastonbury, commissioned by Factory Settings and designed to highlight the Greenpeace campaign to protect forests, the 20m tree comes alive at night, serving as a hub for exclusive DJ sets and a beacon of the Stand for Forests campaign.

A must see feature at Glastonbury 2017; the ModTruss structure is simple to put together. The Factory Settings team was able to build the tree at Worthy Farm from Triple E drawings, ticking the requisite safety boxes in the process.

Lucy Edelstein, Project Manager at Triple E, commented: “We were delighted the Factory Settings’ team approached us with their designs. We made a 3D drawing for approval, test built the tree and shipped the parts.”

Factory Settings’ Director, Lucien Mansell, said: “ModTruss is a unique product ideally suited to a one-off bespoke item like this because it doesn’t require custom components.

“Building a 20m tree in a field is a demanding project but it’s something ModTruss’ versatility and strength is well suited to.”

With help from its supporters, the Greenpeace Stand for Forests campaign is stopping illegal timber from Cameroon reaching European ports, barring the expansion of soya plantations into the Amazon, fighting fires in Russia and getting in the path of bulldozers, again and again. That is the vision of hope and direct action that the Greenpeace Field will represent this year at Glastonbury Festival.

TPi www.3-eee.com 80

GLASTONBURY 2017

CENTRAL PRESENTATIONS LIMITED CPL (Central Presentations Ltd) enjoyed another glorious Glastonbury Festival of Contemporary Performing Arts, supplying projection to Arcadia’s giant recycled metal spider, which hosted their phenomenal Metamorphosis show.

The company also supplied a lighting and rigging package that was utilised across the lively Shangri-La late night area - which this year saw the Truth main stage emerge from the embers of the previous Hell, and the site expanding its daytime activities via the Shangri-La International Television Centre transmitting debates and discourse on DIY culture and a range of other topics.

A third area of the festival for CPL was delivering projection to the movie theatre at Williams Green, working with The Live Firm, which screened Supersonic, a British music documentary directed by Mat Whitecross detailing the formative years of Brit pop legends Oasis at the height of their success in the 1990s.

CPL’s Richard Burrow was on site to oversee operations and collaborate with the various technical crews involved in running these different areas on the creative edge of the world famous festival.

SHANGRI-LA CPL renewed its long-standing relationship with PF Events for the supply of kit to this eye-popping visual area with a skyline dominated by huge towers of trash and a reformed gas tower overlooking the fields of ‘digital revolution’ including a 360 degree activist AV installation.

The lighting equipment from CPL included Claypaky Sharpy and Mythos moving lights, Philips SL Nitro LED strobes and ARRI L5-C LED fresnels and the rigging comprised Prolyte H40 truss and Prolyft Aetos motors. “It was great to see all of this used inventively on the Truth Stage and around the various eclectic Shangri-La areas which are also inventive and interesting to watch or experience,” commented Richard.

ARCADIA The current projection system for Arcadia’s spider was originally designed

by CPL for the launch of the Metamorphosis visual extravaganza in 2015 and comprises 6 Panasonic PT-DZ 21K projectors, each beaming onto the front and back of each of the three spider legs.

Motion graphics, created by Tom Wall from blinkinlab, are mapped precisely on to the legs using a media server and the Metamorphosis show cues are all triggered by timecode generated by the overall show control system.

The projectors were positioned in weather-proof hides on 6 platforms placed around the Arcadia arena, approximately 40m away from the imposing 12m high spider structure which is constructed from reimagined industrial waste, so they had a serious throw distance.

CPL used 6 Connex 2-way fibre DVI/RJ45 fibre optic converter transmission systems which enabled both the data carrying the content to the machines and the projector control signals including on / off, colour settings, contrast, geometry control and other monitoring and feedback related to projector health to run down the same cable.

This is a neat, robust solution designed for live events that saves time and reduces the need for unnecessary and unwieldy cabling.

Metamorphosis has been one of the most popular Glastonbury attractions since it launched two years ago and this year pulled record audiences of around 50,000 to witness the high energy narrative and see the forces of good and evil battle, complete with new age abductions, space age teleportation, dramatic transformations and general craziness.

WILLIAMS GREEN A Panasonic PT-RZ12K projector, a Barco PDS Switcher and Denon Blue Ray players from CPL provided the HD (front) projection system for the movie screening, supplied complete with a 16m x 9m screen. Immediately before this started, Noel Gallagher stepped in and engaged in a Q&A session.

Richard concluded: “It is always fantastic to be involved in Glastonbury and to see the ingenuity, passion and creative technology that go into creating incredible environments and some amazing entertainment. With the festival taking a break in 2018, everyone was making an extra special effort and upping the ante in their production values to ensure everyone would have a memorable and long-lasting time catching the excellent vibes and enduring spirit of the occasion.”

TPi Photo: Ben Daure www.cplav.com

ER PRODUCTIONS ER Productions supplied laser effects for highly-anticipated acts alt-J and The xx. Both of these shows were operated by each band’s lighting director from their chosen desks, and were supported by technicians from the ER Productions team.

ER’s Marc Webber told TPi: “We used a combination of Laserblades and our Kinekt fixtures on the alt-J set. The Kinekts

were specified because we could adjust the beams with their built-in scanner.”

The team always consider audience safety, even when fast changeovers are vital. “The xx show was quite challenging as the laser had to roll on during a change-over without any time for testing or alignment.

The lasers were also used during daylight hours, which meant that aligning them was somewhat more difficult, although not impossible!”

TPi www.er-productions.com 82

GLASTONBURY 2017

QUANTUM SFX synchronised display of crossettes, mines and comets arched over the pyramid, reaching heights of up to 300ft for the end of track Everlong.

On Sunday evening, Quantum supplied streamers and confetti for long standing clients Biffy Clyro. The first hit of streamers was timed for less than 20 seconds into the first track Wolves of Winter. Using 10 stadium shots positioned in the pit, blue and white Scottish themed streamers were released into the sky. For penultimate track Many of Horror, a second hit of white confetti was sent over the crowd, providing a high moment for the last refrain.

Quantum also provided steady flames for the Park Stage, an effect the company has been supplying since 2014. Two of Quantum’s custom Spitfire Flame units were used to provide two continuous flames on either side of the stage roof from dusk to midnight. The flames run every night of the festival from Thursday onwards.

Quantum deployed a total of 7 crew over the weekend - 5 for Pyramid and 2 for Park Stage. Products used for Katy Perry’s show included 20-25ft Jet, 30ft Mines and Comets, Pink Star Confetti and Yellow Circle Confetti, Confetti Blowers. Foo Fighters’ production utilized 130 second pyrotechnic display consisting of Comets, Mines and Crossettes ranging from 200-300ft.

Biffy Clyro benefitted from 10 Stadium Shots, Blue and White Streamers and Confetti Blowers with White Confetti. Elsewhere the Park Stage was supplied with two Spitfire Flame Units either side the top of the Park Stage throughout the weekend, an effect the company has been providing since 2014.

TPi Photo: Shirlaine Forrest www.q-sfx.com

Quantum SFX provided special effects for three major artists on the Pyramid Stage, including Katy Perry, Foo Figthers, and Biffy Clyro.

Quantum supplied on-stage pyrotechnics and two hits of custom confetti for Katy Perry’s performance early Saturday evening. Mines, jets and comets were stationed along the front edge of the stage and fired during track Fireworks, while pink star confetti was released for the end of the song from 10 blowers placed in the pit. For finale track Roar, a last hit of yellow circular confetti was timed just as Katy Perry jumped over the barrier and crowd surfed across the audience.

To close the Foo Fighters headline act on Saturday night, Quantum delivered a 130 seconds long aerial pyrotechnic display. Using two platforms positioned behind the screens stage left and stage right, a 83

x

Jamie Sunter, a graduate of Rose Bruford College, is now among d3 Technologies’ youngest recruits. The fledgling visual specialist shares some insights from the first year of his career.

What first sparked your interest in the events industry?

When I was at school I always wanted to be part of the annual productions, but quickly realised that acting was not for me!

I got involved with the lighting department and fell in love. I soon began working at a local production house where my passion developed. When I reached the end of my A-levels I was determined to progress, which led me to apply for the Creative Lighting Control course at the Rose Bruford College.

What were the benefits of taking the higher education path to get into the industry?

At University I got my hands on d3 software for the first time - an opportunity I’m not sure I would have had if I went independent straight away. That’s when I really became interested in content creation. Additionally, my course was very good at getting students in front of industry professionals who would come in each month to give lectures. We exchanged business cards and handshakes with some big names. Rose Bruford are also very accommodating with allocating time to work on extra-curricular freelance projects. They understand that this is invaluable for career progression.

During university you began to undertake work with United Visual Artists (UVA) and d3.

What did you work on during this time?

During the program I split my time between UVA and d3 as a Technical Intern. It was a fantastic opportunity and I got to work on several projects including a Versace fashion show and some art installation work.

How have you consequently settled into your role with d3?

My official position is QA Engineer and Support Specialist, which means I test new software and work out any potential bugs before its release. I also help users with issues they may have and give ground support to various shows. So far, this has included working with the crews of Harry Potter and The Cursed Child theatre production and The Weeknd’s Starboy World Tour.

It’s been a great experience. It’s given me an incomparable insight into how people are using d3. There is such a wide range of activations for the product. Each day we get emails from around the globe; from the biggest tours in the US to an airline lounge in Asia - talk about diversity!

Where do you hope your career will take you in the next few years?

I want to go into live events and touring. Music has always been a passion of mine and I would love to work in that world. In the meantime, I’m really enjoying the learning opportunities at d3 and hope to specialise in certain workflows to eventually become a dedicated programmer.

Lastly, our annual Production Futures event is only two months away. What advantages does such an event offer to those hoping to break into the industry?

Production Futures makes the industry look less intimidating; it affirms that we are all in this business because we have a common passion for our chosen field of entertainment. Events like these show that companies are keen and willing to come and support people emerging into the industry. It just proves the opportunity to get a ‘foot in the door’ is there, and we can find those breakthrough gigs! I will actually be on the d3 stand at this years event. If you’re attending drop by and say hello.

TPi www.d3technologies.com www.productionfutures.co.uk 84

e! t a D e Save Th 8 1 0 2 y r a u r b 26 Fe

FESTIVAL FOCUS

TOMORROWLAND As one of the most exclusive and sought-after tickets for dance music fans the world over, Tomorrowland is a veritable Disneyland for both DJ’s and their legions of loyal fans. TPi was there to witness the magic and the madness first hand. www.tomorrowland.com

SHOWTEX ShowTex and Tomorrowland have a long and productive working relationship. Ever since the very beginning, the organisers of the festival have counted on ShowTex’s flame-retardant fabrics to dress up their stages and all surrounding decorative elements. Each edition has a new theme and every year the overall look and feel of the festival is completely reinvented. This year the Tomorrowland organisation presented ShowTex with its first designs of the brand new main stage, bigger and more complex than ever before. The theme was Amoricum Spectaculum, which had promoters ID&T searching for spectacular and massive circus curtains to impress its audience. Spectacle assured, as the Main Stage resembled a giant striped circus tent with ferris wheels, props and performance actors all around it. There was even a functioning merrygo-round and a real fortune-teller present!

The massive 12m high and 20m wide outdoor main curtain was first going to be printed on a PVC material, but to perfect the realistic circus theme, ShowTex customised the curtain in theatre red Velours Delta, which is an extra-wide and medium-weight synthetic stage velvet that features minimum shrinkage. Perfect for this large-scale outdoor application!

During the show, the impressive front curtain had to go up and down in a traditional Wagner opening to cover or unveil the video wall behind it.

This was a huge challenge, since the curtain was mounted in a tent with a

pointed top. Wagner curtains are usually twice the height of the stage area, mounted on a horizontal fly bar or rail. To overcome this, ShowTex invented an innovative rail system in ShowTrack, which followed the conical shape of the roof and allowed the curtain to open beautifully in a classic Wagner style.

The front of the main stage area was finished with red borders in lightweight StretchVelours, allowing the technical ceiling above the stage to be masked. The entire floor of the stage was fitted with black DanceCarpet Double, which is a lightweight dance floor ideal for touring and easy to clean in between the two festival weekends.

To add even more sparkle to the circus extravaganza, ShowTex installed a glamourous golden LurexVoile 100 Crunch inside the merry-go-round, lined with black Molton to prevent transparency. The fortune-teller on the other hand was backed by a purple metallic Galactica drape, which ensured a mysterious and spiritual atmosphere.

Finally, ShowTex supplied a lot of black Molton and Juncko masking fabrics, in order to finish the other stages and props all around the Tomorrowland festival site. Until the very last moment and even during build-up of the festival the design of the Main Stage was subjected to changes in order to make sure everything was just perfect and worked out into the smallest details. Only by constantly pushing boundaries, the Tomorrowland festival could become what it is today and this is exactly what makes it incredibly challenging and yet so much fun to work for.

Photos courtesy of Tomorrowland www.showtex.com 86

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TOMORROWLAND

LUXIBEL & HIGH END SYSTEMS AED Group’s latest line of budget LED fixtures, Luxibel, lit up two of the Tomorrowland stages this year. AED has enjoyed a long - albeit indirect - relationship with Tomorrowland via a number of the rental houses supplying the festival, but this was the first time the group saw its own in-house products on the rider. Officially launched in December 2016, the aim of the Luxibel range was to provide a cost effective solution across various sectors of the market. “Not every job will have a high profit margin so we wanted to produce high-quality products at an affordable price for the end user,” stated Glenn Roggeman, CEO of AED Group. Roggemen went on to state how AED’s enviable place in the market working with over 2,500 rental houses, means the group has an “understanding of what the entertainment industry needs and the ability to put this knowledge back into the products we produce”.

On site, TPi spoke to Luxibel’s Brand Manager, Nils De Laeter, about the products that were deployed. “Getting the Luxibel brand on the festival rider has been a process that started last year following a conversation with lighting supplier, L&L,” began De Laeter. “After sending them a demo kit of Luxibel and High End Systems products, L&L decided to deploy them on two stages.” In total 24 B-Blinded were deployed on the Tulip stage, 57 on the Wind stage, 26 B-Narrows on the Tulip and 8 on the Wind stage.

“The feedback we have received regarding the B-Blinded has been fantastic!” enthused De Laeter. “Although it’s an LED fixture it still has the look of a traditional blinder, especially with its dimming curve. LDs that used it across the two weekends were impressed with its functionality as a strobe, which, as you can imagine, was very useful at the EDM festival.

“We also had a positive response from the B-Narrows, thanks to the amount of punch it had for a 150W. We also had some great feedback on the gobos and the speed of the fixture.”

After Luxibel’s inaugural success at Tomorrowland De Laeter - aptly

- looked to the future and offered an insight into the brand’s direction in the next few months, saying: “I feel the brand is starting to get more or a reputation both in Europe and Internationally this summer.” He said to look out for Luxibel across the major European festivals such as Pukkelpop.”

Roggeman gave his final thoughts on the newest extensions of AED Group: “I am happy with the response the Luxibel brand has received. 2017 was always going to be a beta test year and we have already produced 10,000 fixtures. But this is very much the beginning for Luxibel. Watch this space.”

Moreover, as the master distributor for High End System in Europe, AED also provided a selection of fixtures and desks for L&L. In terms of fixtures, 64 Unos and 15 Shapeshifter C1’s illuminated the Tulip stage. Elsewhere, 48 SolaSpots 1000’s, 12 SolaHybeam 1000’s and 6 SolaFrame 1500’s were positioned at the Wind stage. AED also provided a Hog 4 console for the Tulip stage.

Photo: TPi Magazine www.aedgroup.com www.highend.com

Luxibel’s Brand Manager, Nils De Laeter.

MA LIGHTING Tomorrowland is one of the world’s highest profile electronic music festivals, gathering over 400,000 people at the main site in Belgium, and connecting an additional 70,000 people at multiple remote venues through the UNITE event. UNITE are events organised in different countries and connected via a live satellite broadcast with Tomorrowland Belgium.

This year UNITE shared three hours of live HD video broadcast feeds featuring performances from the main stage in Belgium, with remote live parties in Germany, Malta, Dubai, Israel, South Korea and Lebanon. At each location grandMA2 consoles were in control.

In Belgium 13 grandMA2 full-size, 8 grandMA2 light, 1 grandMA2 ultra-light, 2 grandMA2 fader wing, 2 MA onPC command wing and 1 MA onPC fader

wings were used.

Up until 9pm, Belgium time, every party had their own DJ performances. The live video from Tomorrowland Belgium was sent to the different locations for the audiences to watch. In parallel the local lighting rigs - that were smaller than the main stage - were used to reproduce in the best possible way the same colours and strobe effects as were happening in Belgium. All other parts of the lighting were controlled by the local operator at each venue.

Technical designer Mario Hofman evaluated the live images taken from the different venues during last year’s edition of the festival, and wanted to increase the ‘united experience’ for this year. The idea arose of having a virtual operator assisting the worldwide local operators. For the 2017 edition of the festival Hofman wanted the overall ambiance of the remote stages to follow the main colours and colour effects that were being created by Leon Driessen, main stage operator in Belgium.

In a combined effort, MA Lighting’s Belgian distributor FACE and MA Lighting picked up on the idea and choose a software to connect the lighting across all the venues worldwide.

To achieve this, a trigger was generated from a grandMA2 on the main stage in Belgium and sent over a network connection to the backstage media village. From there the data was bounced to every worldwide participating venue over the internet and used as an external trigger source for the local MA desks.

The audio and video however were sent via satellite feeds with various latencies. As the lighting control data came over the web, each local venue used the trigger to synchronise the data streams. This allowed a perfect replication of the colour sequences and flashes being generated from the main stage with the live video and audio feeds across the globe.

Photos courtesy of Tomorrowland www.malighting.com 88

TOMORROWLAND

SOUNDSYSTEM & FUNKTION-ONE Soundsystem returned to Tomorrowland, marking the company’s seventh consecutive year on the site. This year the Funktion-One specialist provided audio for the House of Masks stage, along with one of the site’s best-kept secrets, the elusive Rave Cave.

TPi spoke to Soundsystem’s co-founder Tia Broodcoorens to discuss their involvement with this year’s event.

The House of Masks stage, sponsored

by Cubanisto, is a circus style venue situated next to the festival’s second stage. Broodcoorens recapped: “In total we deployed a system of 4 Evo6EH’s, along with 4 Vero V221’s and 4 F215 Mk2’s. We also deployed a Midas U24 for FOH control.” This was the first year that Soundsystem had deployed Evolution speakers having acquired the system shortly after the 2016 event. “Last year we used Resolution 4’s to handle the audio in the House of Masks. But the set up this year with the Evolution was definitely an improvement in terms of audio quality.”

Broodcoorens explained how the tent offered a great environment for the new spec, adding: “The acoustics in the stage are certainly better than your traditional festival tent, with the thicker walls and the large amount of decoration working in our favour. The Evo6 worked really well with the room in terms of its throw. The space is rather long and deep but the new system proved more than capable for the job. Once again using the combination of the V221’s and 4 F215 Mk2’s proved to be a winning combination.”

In the tent, Soundsystem also deployed two Res 2SH’s at the back of two infrastructural poles to ensure that even coverage was achieved.

Broodcoorens concluded: “We had a really good line up on this year’s stage. Much of the audience made a special effort to come and see the various acts over the two weekends. This meant there was even more of an obligation on our part to ensure that we were delivering a quality audio package which I believe we did.”

Along with its work with the House of Masks, Soundsystem also work in the intimate space of the smallest stage on the site, the Rave Cave, proving size isn’t everything. Of the Rave Cave, Boorcoorens said: “I think you can only have 50 people max at a time. We deployed 2 Resolution 2’s and 3 F121’s. We also had 2 Resolution 2’s for monitoring. It sounded so good down there!”

Photo courtesy of Tomorrowland www.funktion-one.com http://soundsystem.be/

Main Stage decorative fabrics in Velours Delta, StretchVelours & LurexVoile Crunch © Tomorrowland

T: 0032 3 236 84 40 // INFO @ SHOWTEX.COM // WWW.SHOWTEX.COM 89

TOMORROWLAND

PRG PRG Belgium once again collaborated with the festival organisers, suppling lighting for the main stage. This year the company contributed an impressive rig of 156 PRG Best Boys, 46 PRG Icon beams, 65 GLP impression X4 Bars, 24 Philips Vari-lite VL 3500’s and 17 PRG Bad Boys.

TPi spoke to PRG’s Project Manager, Rik Henneco, to discuss this year’s lighting set up. “We have provided lighting for the festival main stage since the very beginning,” recalled Henneco, who was happy to tell TPi the collaboration continued to be a successful partnership.

Along with the sizable lighting rig PRG also provided its PRG GroundControl Follow Spot system, which Henneco dubbed “a great experience”. He explained its usability and flexibility made it ideal for Tomorrowland, adding, “We ended up putting the controllers and

operators behind the stage in a container. Throughout the two weekends the system worked perfectly.”

Away from the main stage, PRG also handled lighting duties in the Garden of Madness. They supplied a selection of PRG products including 50 PRG Icon Beams and 20 Best Boys. Likewise, the local supplier tackled both the Main Stage and the Garden of Madness, and provided all necessary rigging equipment as well as controls, which came courtesy of 2 MA Lighting grandMA2 consoles.

Henneco gave his final thoughts on the event: “Every year the timing is a challenge and this year there was a lot of technical equipment.” Despite the inevitable obstacles, however, the project manager was quick to deem Tomorrowland 2017 a success, adding: “We always have a great relationship with the organisers year after year from pre-productions all the way to the final invoice.”

Photo: TPi Magazine www.prg.com/be/en

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TOMORROWLAND

PIONEER PRO AUDIO

At this year’s Tomorrowland Belgium event, Pioneer ProAudio provided a system for the B-EAT area. B-EAT was a unique dining party where a top-chef joined forces with a Tomorrowland artist and served up great food to match the music and the atmosphere. 12 different chefs took part delivering 24 sessions across the week for 250 people per session.

Pioneer Pro Audio installed 4 of its new XY-3B loudspeakers with 4 XY-218HS. 2 XY-215S subs and 2 XY-122 were

used as a monitor setup with a standard DJ set consisting of a DJM900NXS2 and 4 CDJ-2000NXS2. This was part of a continuing relationship with the Tomorrowland brand that has previously seen Pioneer Pro Audio provide a full system for TML’s very successful pop-up store in Antwerp, as well its Steam Punk Nexus DJ set for the main stages at TML Brasil and TomorrowWorld in the USA. Pioneer Pro Audio’s XY-3B, an extension of the installation version, has been developed for the festival and touring market and is effectively being road-tested at a variety of events this summer before its general release onto the market later this year.

Photo: Maren Adsero http://pioneerproaudio.com

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M.I.F 2017

MANCHESTER INTERNATIONAL FESTIVAL Providing a rich tapestry of cultural experience, the biennial Manchester International Festival (MIF) again took over several venues and public spaces throughout the city in July. TPi spoke to several of the suppliers that played a part in the festivities. www.mif.co.uk

STAR EVENTS

Star Events supplied the cavernous Mayfield Depot with seats in two custom-built arenas for MIF.

The first was for the world premier of Yael Bartana’s What If Women Ruled The World, the second for choreographer Boris Charmatz’s 10,000 Gestures, one of MIF’s final fixtures.

Set opposite Manchester Piccadilly, Mayfield Depot is the under platform area of a semi-derelict Victorian railway station.

Boarded up for years there was minimal natural light as Star Events built a single stand of 430 QP Grandstand seats. To accommodate Saygel & Schreiber’s What if Women Ruled The World set design, the system included a 166mm rake onto the existing ‘stage’ plinth and around the venue roof support columns.

The solution for 10,000 Gestures, one of the final shows at MIF 2017, was a horseshoe configuration of 520 seats in three 333mm rake stands incorporating an upstage landing for show control.

New Order’s run of gigs at Old Granada Studios, in front of Star Events’ performance wall, also finished on Saturday, after Star had provided a 22m

Orbit stage and support structures to blink-182’s turn at Castlefield Bowl the night before.

Ahead of MIF, the company’s busiest summer in Manchester saw it supply the Courteeners performance at Emirates Old Trafford, the Manchester One Love event, seen by a billion people around the world, and Radiohead’s rescheduled show at the same venue.

Take That also rescheduled their planned three nights at the Arena with one huge show at Etihad Stadium delivered in the round on one of Star’s new Ultra stages, prior to it going to Wembley for Adele.

Pete Holdich, Head of Structures at Star Events, commented: “We staggered the Mayfield build schedules to accommodate our other commitments and to allow rehearsals to take place. Manchester has a huge music and arts heritage that attracts A-list players and events every year so no surprise that as a major supplier we have so much happening there.

“The success of this run of shows, from the Courteeners to MIF, was a fantastic response by all involved, from performers, promoters and event organisers to suppliers and audiences.”

Photos: Tristram Kenton www.stareventsltd.com 92

M.I.F 2017

DBNAUDILE Manchester-based dbnAudile supplied lighting, rigging and power distribution for Festival Square at this year’s MIF. As the keystone of the citywide extravaganza, Festival Square featured three music venues along with several catering spaces. Situated in the heart of the city in Albert Square, the site worked as a central hub for the weeklong festival. dbnAudile’s Director, Pete Robinson, outlined the organisers’ desire to “lower power consumption for Festival Square”, and the challenges that held for the company. “This meant throughout the various venues we tried to deploy as many LED, low power consuming fixtures to keep our usage at a minimum,” commented Robinson. To power the site dbnAudile used both on-site generators as well as multiple feeds from the town hall.

The LED-heavy quota for the main live venue included a package of Claypaky A.leda B-EYEs, Chroma-Q Color Force, Showtec Spectral 2500 Zooms and Pro-Lights Studio COBs along with more conventional Martin

by Harman MAC 250 Entours and Claypaky Alpha Beam 300’s. More Color Force, Studio COBs and Spectral Zooms were deployed in the Festival Square Tepee and acoustic stage. dbnAudile also lent a hand to the Dark Matter shows, curated by BBC Radio 6’s Mary Anne Hobbs. Lighting Designer Stuart Bailes transformed two of the city’s venues, Gorilla and O2 Ritz, into new universes for both local and international artists who performed in eight immersive shows.

“Stuart is one of the easiest LDs we have ever worked with at MIF,” stated Robinson. “He was incredibly accommodating as we worked out how to fulfil his designs whilst maintaining the budget. In each case Stuart built

on the artist’s original touring design and added elements to provide them with a unique show for their MIF performances.”

Robinson rounded up dbnAudile’s involvement in MIF by describing the company’s part in the Last and First Men multimedia work by Oscarnominated Icelandic composer Jóhann Jóhannsson: “The show was really beautiful. Just like the Dark Matter performances, Stuart was once again the designer. He placed trusses over the orchestra with 16 Claypaky Alpha Spot QWO’s. He then fired the fixtures at custom mirrors placed around the circumference of the performance area whilst each mirror was back lit by conventional fixtures. It was a fantastic looking a show and a personal highlight for me at this year’s festival.”

Photo: Louise Stickland www.dbnaudile.co.uk

Brilliant event lighting, sound & rigging www.dbnAudile.co.uk 0161 273 4297 8 Downing Street Industrial Estate, Charlton Place Manchester M12 6HH @dbnAudile

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@dbnAudile

M.I.F 2017

HSL

For this year’s MIF at the Old Granada Studios, gurus of electronic music New Order and conceptual visual artist Liam Gillick, presented and bold and original collaboration orchestrated by Joe Duddell.

Lighting was designed by the band’s long term LD Andy Liddle, with equipment supplied by Blackburn-based rental specialist HSL, project managed by John Slevin and coordinated on site for them by Andy Chatburn.

The show presented tracks from New Order’s vast body of work, played by the band and a 12-person synthesiser ensemble from the Royal Northern College of Music.

Gillick designed the stage set comprising the 22.5m wide, 7m high structure upstage of the band that houses the 12 synth players. This was engineered by Star Events and, together with the trussing providing the overhead lighting positions, had to be shoehorned into the Studio’s 24.5m wide 1979 Space Frame superstructure, a delicate operation undertaken by UK Rigging.

A striking large-scale louvre system, created by Scott Fleary, was integral to the set and sat in front of the 12 keyboard cubes, fabricated

by Hawthorns and installed by Take One Scenic. When closed and in transition, the 12 louvered panels act as a front projection surface and when open, a vibrant array of lighting and other visual effects are revealed.

“Many inspiring people and excellent companies have united to make this production happen,” stated Liddle. “It is energising, highly cerebral and fertile and many ideas have been discussed in a very invigorating atmosphere,” he enthused.

Production Manager Dave Lawrence oversaw the whole process and Liddle was delighted to hear that HSL would be the stage lighting supplier.

In addition to that, they are also supplying the site-wide electrics and

power distribution, general lighting for the bar and foyer areas and safety lighting throughout the space.

The stage lighting trusses are installed above the node points of the Space Frame to keep the aesthetics clean, minimal and defined.

Gillick left it to Liddle’s expertise and knowledge as a touring LD and his long history with New Order to shine through as the show evolved into a multi-layered visual presentation.

The LD was keen to have a standard touring system in terms of fixtures, but concealed to maintain the look and vibe of the show. With that in mind, apart from 2 fixtures, all lighting was in the roof and secreted at the sides behind the PA. Robe BMFL Spots were the main hard-edged lights with a double row rigged on two trusses above the stage and set. These were chosen for their intensity, flexibility and the very wide range of effects that can be created.

For side lighting Liddle picked a combination of more BMFLs, ETC Source Fours and Claypaky Sharpies.

Inside each of the 12 cells of the structure is a Robe DL4X Profile fixture, used both for projecting onto the white lining of the cell, and blasting beam and breakup effects through the louvres. Each cell was internally lit with two SGM P5 LED floods giving off a subtle range of intensities.

Martin by Harman Atomic 3000 LEDs are used over-stage and above the audience. As well as being an integral part in the show, Liddle was taking advantage of their full duty-cycle and using them as venue work lights, supporting a grid of Martin by Harman MAC Auras, also in the ceiling, utilised for walk-in and room lighting.

Four-lite Molefeys are rigged on a different rail of the upstage trusses in a mirror position to the rear BMFL Spots, and the front and key lighting comes from a row of ETC Source Fours.

All of these luminaires were installed discreetly so the source is visible rather than the hardware. With the heavy side lighting, Liddle has taken more of a dance than a rock show approach.

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Gillick’s only specific lighting request was for only two lights on the floor with which he wanted to create some dramatic silhouettes onto the closed louvres.

Liddle recalled the last time he dared to position any lights on the floor for a New Order show, which was Berlin, May 1981, a gig in the SO36 club … where Bernard Sumner ceremoniously kicked a pair of Altman fresnels offstage … and Liddle swore never to put any lighting instrument in that position again!

This time two Martin by Harman Axioms hybrids were positioned strategically to produce the effect that Gillick was looking for. “I asked HSL to find the toughest narrow source fixture they had available, and these Axioms worked a real treat. I will definitely use them in the future,” he said adding that they also, happily, stayed in position!

HSL supplied two brand new Avolites Arena consoles for Liddle to control lighting for the five shows that played out during the 18 day MIF17 event.

The LD has enjoyed working with HSL on the project for which Andy ‘Top Hat’ Chatburn acted as the chief LX on site. “The whole HSL team has been fantastic as always, the kit has been excellent … and a big shout-out to Matt McCall and Joy Brown from the warehouse who have given it amazing support and organisation,” recalled Liddle.

The artistic and engineering challenges included dealing with the building - effectively a found space - in the context of fitting this show in. As the Space Frame was installed in 1979, there are no electronic drawings or information available.

Liddle made at least 3 reccies and he and UK Rigging’s Ken Johnson measured the frame with laser equipment to detect the node points. “Andy (Chatburn) and Ken pulled an absolute blinder to get the rig in there,” commented Liddle, who is totally fired up by the whole project.

“It’s been a real joy to work with Liam and on a presentation collaboration beyond the realms of normal concert touring. He is a great communicator. His whole take on live performance is very different and I think we are all very proud of the combined results,” Liddle commented.

The intricate video content was created by Matt Lee, controlled and manipulated by Ryan ‘Simba’ Staplehurst via a d3 media server.

To fully realise Gillick’s creative vision and start experimenting with visual effects, a 3D model of the stage was built during pre-production and imported into d3 allowing proxy content and the louvre movements to be simulated long before rehearsals had begun. Using this simulation the d3 was utilised to control the four projectors responsible for the mapping and generate the DMX required to control the louvres themselves. This combined control ensures that the mapping remains pixel-perfect as the dynamics of the set shift.

The show has received massive critical acclaim and everyone is now waiting in anticipation to see if the concept will be commissioned to appear at future arts events.

John Slevin stated: “HSL and I have worked on a number of MIF events now, and it’s a great experience. The venues are different, the artists are interesting and the shows always make you think. Working with Dave, Andy and MIF17’s head of technical Jack Thompson is a real pleasure!”

Photo courtesy of MIF www.hslgroup.com.

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M.I.F 2017

TUBE Audio specialist tube uk delivered sound systems to a diverse mix of over 30 shows, site-specific installations and one-off performances in a variety of venues across the city throughout the 18-day Festival 2017. tube’s Melvyn Coote oversaw all the projects, collaborating closely with festival’s Technical Director Jack Thompson.

All the kit that tube owned was deployed, leaving a bare warehouse. It worked hard throughout the event for which the company supplied 80% of the audio requirements - from full theatre productions to small idiosyncratic installations, from DJ systems to refined orchestral and spoken word PAs, most of which were unconventional and challenging, needing lateral thinking and creative implementation! Equipment from a wide range of brands was featured, including d&b audiotechnik, Tannoy, Yamaha, Sennheiser, DPA, Crown, Crest, QLab and MAX. There were many challenges. The advanced logistics of what needed to be where and when was a real brain-teaser, together with the scheduling and time-planning. This had to factor in transportation, rigs, de-rigs, preps and on top of that, the different facilities on offer at the venues and what was needed for rigging and physical installations in the found spaces.

Venues ranged from regular theatres and concert halls to site specific gems like Mayfield depot, and incorporated everyday public locations like the elevator concourse between Selfridges and Marks & Spencer or Victoria Station, St Anne’s square, Whitworth Park and numerous others.

Taking the concept of ‘lift music’ literally to new levels of excellence and context, the audio specialist designed an ingenious solution for an interactive sound installation by UK composer Anna Meredith. “This was one that really stood out as different and interesting,” enthused tube uk’s Melvyn Coote, “both for the challenges of accessing the unusual location and the lateral thinking involved in finding a solution to mix the music live.

The two Selfridges shafts are over 22m tall and the installation associated with this side of the concourse involved 4 pairs of Tannoy V8 speakers which were positioned equidistantly on the back-side of the exposed lift shafts, starting at the top - 22m high - and graduating down the shaft, with a pair at each floor level below.

The Marks & Spencer lifts are three stories high and on the opposite wall of the concourse, so three sets of speakers were attached to these, again starting at the top with a pair corresponding to each floor.

The lifts each had its own ‘vocal range’ – soprano, alto, tenor and bass – and the height of each lift at each floor determined the pitch, with lower tones on ground floors and below and higher tones as the lift levels increase.

Access to rig the speakers involved sourcing a ‘Spider’ MEWP (mobile elevated working platform), with caterpillar tracks - to avoid damaging the floors - and folding feet so it would fit through the double doors at the end of the passageway. It also needed to have enough reach to access the highest rigging points.

For the artwork, Meredith created 14 tones of music each related to a specific floor and lift position. A QLab control system is programmed so different tones are triggered when the lifts reaches different floors - based on the four vocal ranges.

She also made 20 transitional pieces of music which play when the lifts move between the floors, depending on whether they are going up or down and which floors they are moving between, resulting in a complex and beautiful series of sounds.

The very clever bit was getting the music – stored in QLab – to play out as the lifts moved up and down, randomly activated by members of the public, completely unaware that they were creating live art as they browsed around the stores.

Coote enlisted another member for the tube team, engineer and programmer Dan Steele and collectively chose programming platform Max to realise the concept. Max is a flexible and dynamic visual programming language for music and multimedia developed by Cycling 74. tube worked with the two different lift service companies who both came on-board with the project and provided contact closure interfaces to allow the positional lift data to be accessed. This was converted into a MIDI stream which MAX was able to use and manipulate. MAX then sent MIDI message along to QLab to trigger the correct samples at the right times. It took 5 intense days of R&D and programming to get all the control systems

communicating with one another.

The physical installation was further galvanised by elements like cable runs which had to be run up the lift shafts and through the lift motor rooms on the roof of the store and a 50m data and signal loom which had to be installed between the two lift motor rooms. The roof work took a day and a half and getting the 14 speakers positioned and rigged took 10 hours overnight.

Once that was all complete, Coote and Meredith spent time completing the acoustic set up and programming - the lift / sound alignment was done via walkie-talkie between the concourse and the roof and this process alone took around 5 hours.

The results were amazing! An exclusive interactive music ‘show’ took place for 10 minutes every hour - each one individual and different from the last. For the other 50 minutes, Anna created an alternative simplified soundscape which used only 14 lift / floor sounds and no transitional elements. tube work on many interesting arts projects, “but this was one of the most stunning, resulting in an incredible organic music composition that presented us with all the technical brain-teasers we love!” summed up Coote. www.tubeuk.com 96

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AREZZO WAVE LOVE FESTIVAL

AREZZO WAVE LOVE FESTIVAL’S VUE SYSTEM Now in its 31st year, the annual Arezzo Wave Love Festival showcases emerging Italian live and electronic music talent. Held for the first time in Milan on 23 and 24 June 2017 in conjunction with the Festa della Musica, the event featured performances from Arezzo Wave Band competition winners as well as more than 50 artists from every Italian region and Europe.

For the second year in a row, Sinergie Group, exclusive VUE Audiotechnik distributor in Italy, teamed with nonprofit foundation and event organiser, Fondazione Arezzo Wave Italia to provide sound for each of the event’s three music performance stages. “VUE Italia was very honored to provide sound again for the Arezzo Wave Love Festival,” explained Livio Spallino, VUE Italia Marketing Manager. “And it’s even more of an honour to hear from Wave contest regional directors that VUE is their only choice.”

According to Gabriele Giambertone, Sinergie Group system tech, given the range of material performed on each stage - from rap to poetry - and orientation of stages throughout Milan’s outdoor Parco Forlanini, VUE’s alClass line array systems were, “the ideal choice for precise vertical coverage and absolute sonic consistency, while minimising hang weight and sight line clutter.”

The Main Stage system consisted of twin hangs of eight al-12 elements.

Directly below them was a ground stack horizontal digitally arced array of eight hs-221’s and eight as-418 subwoofers. VUE h-Class loudspeakers were used for fill coverage with h-15’s as front-fill, and h-12’s for side-fill.

The monitor system for the main stage included hm-212 and hm-112 wedge stage monitors, augmented with an hs-28 dual 18-inch ACM subwoofer on

the drums.

The smaller afternoon Psycho Stage utilised two ground stacked arrays of four al-8 line array elements along with 8 al-8SB 18-inch vented subwoofers in a cardioid configuration and 6 a-12’s stage wedge monitors.

Finally, for the Lake Stage that showcased regional band contest winners, two ground stacks of 4 al-4’s per side, along with 2 hs-25 dual 15-inch ACM subwoofers, provided stellar intelligibility.

According to the festival Sound Engineer, Enrico Fumasoli, who provided system tech support for the Main Stage, the VUE system performed flawlessly across a range of material from Arabian hard rock to rap. “Due to its fidelity and high-end frequency extension, the VUE system handled all the different acts and styles with ease. And its transparency made mixing easy.

All the necessary adjustments from genre to genre were quick because the PA didn’t get in the way.” www.vueaudio.com www.arezzowave.com

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SONIC BLOOM FESTIVAL

SONIC BLOOM DELIVERS UNIQUE EDM EXPERIENCE WITH ELATION PROFESSIONAL Sonic Bloom, Colorado’s premier EDM festival, is something you need to experience to fully grasp. Held at Hummingbird Ranch in the spectacular surroundings of Colorado’s Spanish Peaks, Sonic Bloom is a unique mountain festival experience with a 21st century love vibe and some of the friendliest people you’ll encounter at any music festival.

Denver-based Nexus Productions has been working the festival for the past 4 years and this year served as the main stage lighting vendor (Bloom Stage) for the first time, supplying all trussing, lighting, motors, distros and more. “Sonic Bloom’s lighting is focussed around creating an intimate environment that compliments the many diverse acts throughout the weekend,” said Nexus Productions owner Chuck Williams, who served as lead Lighting Designer for the Bloom Stage. “I’ve had this stage concept brewing in my head for a while now and I’m glad we were able to execute it.

I really enjoy watching it go from our CADs to a full blown festival stage.”

All 3 of the festival’s stages had their own distinct areas and character.

The Bloom Stage saw popular acts The Polish Ambassador and The Floozies and was headlined on Saturday night by Gigantic Cheese Biscuits, an amalgamation of Big Gigantic, The String Cheese Incident and the Disco Biscuits. Williams used Elation’s continuously rotating ACL 360 Bar LED moving bar effects together with Platinum Beam 5R beam lights to create a uniquely visual atmosphere. “I’ve owned a set of the Platinum Beam 5R’s for a few years now,” Williams stated. “They are a workhorse light and go on many of our setups. We just purchased the ACL 360 Bars this past May, but we’ve been using them on our festivals/tours for about a year.”

Williams said that the ACL 360 Bars were the lead component to the main stage design. “The fixture itself is very versatile and can create so

many different looks that you can’t replicate with most other fixtures,” he said of the colour-changing moving batten that houses (7) 15W RGBW LEDs. “With our circle truss hanging as a ‘halo’ we wanted to make it so the ACLs covered the whole ring. We found the magic number for our 20ft circle was 24 units evenly spread.”

The ACL 360 Bar is a diverse fixture with a tight beam that looks great as a blade effect across haze and is often used for eye candy looks or pixel mapping effects. “As the LD, I love the pixel mapping capability with the ACL 360 Bars,” Williams said. “I spent a lot of time writing effects to utilise the pixels all weekend and the pixel mapping made for some incredible looks.

They pack a really nice punch yet are incredibly lightweight and power efficient, which really helps on the big rigs. The speed on the fixtures is really great also - quick and snappy.”

Williams said the Platinum 5R Beams were his “main guns” in the rig with 24 fixtures all in the air. Twelve fixtures were mounted in-between each of the ACL Bars on the halo truss with the remaining 12 on a stage right/left raked truss. “The brightness and reliability of these fixtures are key,” the LD stated, who said he was able to lower the halo truss, leaving it almost vertical as a backdrop for a few sets. “This created a whole new look for the stage and really made for some magical moments with the beams and ACLs working together.”

After being held in several different locations over its 12-year existence, Sonic Bloom has found a home at Hummingbird Ranch. The 2017 edition, which ran 15-18 June, proved a rousing success for Nexus Productions and production company Photon7, as well as for those who enjoy EDM music in a beautiful mountain setting. Williams concluded: “The whole Nexus team alongside the Photon7 crew all deserves a mention for an outstanding effort in making it all happen.” www.elationlighting.com http://sonicbloomfestival.com 100

GLOBAL CITIZEN FESTIVAL

AI SERVES GLOBAL CITIZEN FESTIVAL Knight of Illumination award-winning Video Designer Ben Miles has praised the Avolites Ai R6 media servers in their performance for festival opener, Coldplay, at the star-studded Global Citizen Festival in Hamburg, Germany, ahead of the annual G20 Summit.

The festival calls on governments and the private sector to increase support and funding of issues associated with extreme poverty.

This year was the first time the event had been held in Europe - and featured performances by world-renowned superstars including Pharrell Williams, Shakira, Ellie Goulding, German superstars Herbert Gronemeyer and Andreas Bourani - all opened by multi-million selling British band Coldplay.

Miles, who has been responsible for Coldplay’s stunning visuals throughout the band’s A Head Full of Dreams tour, commented: “Coldplay has so many hits it’s difficult for us to know which of them they will play at festivals and shows like this. We knew they would play 5 or 6 songs in their set, but we didn’t know which ones, so we had to prepare for pretty much any of them. This meant we had to use our existing touring system, but integrated into the Global Citizen show design. To do this, we were able to work with the Global Citizen production team to use their LED mapping with our outputs.”

Adapting the current Coldplay touring system’s Ai outputs to the entirely different screen configuration in use at Global Citizen could have been a significant challenge for Miles and his team, as he explained. “Instead of outputting to our usual LED processors, we had to reallocate all our outputs from the tour set-up. So, it meant a lot of remapping of the outputs!”

Happily, the Ai’s advanced functions allowed for a painless solution, as Miles explained, “The Global Citizen team provided us with their LED map and Video Programmer Robin Haddow and Systems Engineer Owen Evans worked together to use the Ai’s output functions to map all the LED sections to the outputs. They used quite a complex map to manage all the LED into 5 outputs, which takes a lot of pixel calculations and mapping of multiple sections. It was really easy in Ai, as the output function is really user friendly.

You can label the sections and pick them from a drop-down menu to help you work everything out, and then return to it to make edits.”

The Global Citizen rig also featured Barco MiStrip LED battens on the edges of the side-screens. “Once all the remapping was done in Ai, it was really easy to remap the content from our tour LED floor setup to the MiStrips and try out different positions and configurations to find what worked best,” said Miles.

To create the show’s realtime interactive video content Miles utilised the Ai’s Notch function. He explained: “Many of the effects we use in our show are made using Notch integrated into AI. With all the real-time exposed parameters it meant we could vary the parameters to work with the Global Citizen screens and keep all the areas of interest in the main camera view.”

The Global Citizen Festival Hamburg comes during Coldplay’s A Head Full of Dreams tour. “We’ve had some really challenging environments in terms of humidity and temperature,” said Miles. “When we were touring in Asia, all of the equipment was put under immense pressure with the temperatures.

The servers fared really well with their front-to-back cooling system. They performed well and we never missed a beat.”

Miles also related how certain elements of the video team’s practices have evolved over time as the tour has progressed. “We have reallocated some of the resources amongst the servers,” he reveals. “Some of the real-time generated content we use in the show is now recorded and reloaded to the servers as a video clip. The content is made using Ai effects, but by recording it and then playing it back as a video clip, we can reapply the Ai effects, giving us further options and effect possibilities and freeing up further resources for other effects.”

Photo: Ramon Haindl www.globalcitizen.org www.avolites.com 101

GEAR HEADS

VISUAL PRODUCTIONS: TIMECORE

Several months after the release of Visual Productions’ TimeCore product, TPi speaks to Managing Director, Maarten Engels, to discuss the new release, and its aims for the future.

What was the original goal for TimeCore?

While developing our range of lighting controllers, we were getting more and more user requests that were time code-related. These requests involved generating and converting time code in addition to transporting this time information via the network. Some of these functions are difficult to implement in existing products as creation of time code requires very reliable timing, preferably done by a dedicated CPU. The idea surfaced to develop a dedicated product. Only after a couple of in-depth conversations with industry experts it became clear that we needed a complete time code toolbox; a unit that offers a programmable interface that is flexible enough to support the demanding time code setups for DJ sets, concerts, music festivals, corporate shows and themed environments.

on certain time code frames, you can effectively control non-time code equipment - such as media players - on your timeline as well. This makes it very attractive for integrating into (semi-) permanent installations.

All time code and show control features combined make an impressive list of supported protocols: SMPTE, MTC, MIDI, MMC, MSC, sACN, Art-Net, Art-Net time code, OSC, UDP, TCP and HTTP. It seems like the networked element of the TimeCore was a paramount feature. Can you explain why this is so important?

The world is changing to the IoT (Internet of Things) and you can see Ethernet-based devices popping up everywhere. This reflects in our industry as well. I can see many disciplines changing to network-based technologies; audio consoles transport their channels via Dante, lighting desks send their DMX via sACN, laser system route the ILDA signal through Ethernet and for Systems Integration almost all the RS-232 is replaced by UDP. Time code traditionally uses audio (are you using the right gain?) and MIDI (is the short cable long enough?) based signals and its devices are more often than not USB connected. Praise to USB but it’s just not an industrial connection. So why would the time code technology that actually needs to interact with all these show disciplines not move to the network domain? I think it will. By making a network-enabled time code device we actually want to assist the industry in making this transition.

Could you talk through some of the key features that were included in this new product?

The TimeCore can generate SMPTE, MTC (MIDI time code) and Art-Net time code. The time code signal we create and send out on a balanced XLR is uber stable as the TimeCore is a solid-state device just running our realtime firmware and doing nothing else. No operating system is involved.

This is a very different situation from generating time code on a laptop and connecting it via a little mini-jack cable.

Another important feature of the TimeCore is the ability to convert between any of the support time code protocols. It even converts between different frame rates. The unit offers a large LED display for monitoring the time. The two push buttons are user-configurable.

The TimeCore stands out by being network-based. Connected via Ethernet, you can use the web interface for configuring the unit. Part of the configuration is the show control functionality. This function allows you to program the TimeCore to respond to events or incoming signals and perform time code-related functions (eg. start, stop or jump to a certain frame). It also enables you to program events on the timeline directly in the TimeCore. By telling the TimeCore to send out some UDP messages

How do you make sure you are developing a product that really answers the market’s needs?

That’s the biggest challenge for a manufacturer. Fortunately, the TimeCore is not the first product we have developed involving time code protocols; our CueCore lighting controllers are fluent in SMPTE, MTC and Art-Net time code. Our engineers are very experienced in developing robust solid-state devices. So in the end the biggest challenge for us is to pick the right set of features. I have taken the time to research the market and I had the pleasure of speaking with many technicians who use time code on a daily 102

VISUAL PRODUCTIONS TIMECORE

Opposite: Visual Productions’ TimeCore system. Below: Light Image used the TimeCore for Kensington in the Netherlands; TimeCore joined the party at Funhouse XXL in Amsterdam during 2017’s Pride; Belgium MSL Event continue to enjoy working with its TimeCore setup.

basis. These people ranged from lighting board ops, video/laser operators to system integrators and TV studio installers; they taught me a lot. Based on that, we have drawn the mechanical and electronic specifications. We also learned through the years that when you release a product to a target audience that is new, then there are also ‘known unknowns’. Typically, cool feature ideas that nobody has voiced yet. We covered this by designing a strong software foundation in the TimeCore with ample resources left for future upgrades.

When you develop a device for synchronising live shows and manage to get Rammstein as one of your early adapters, you end up with a happy bunch of engineers.

Will there be any features added soon?

We shipped the first batch of TimeCores with software version 1.0 and immediately continued building on the next firmware. We are currently implementing RTP-MIDI which is a MIDI-over-Ethernet protocol pioneered

by Apple. Once finished, I believe it will serve our users well as via RTP-MIDI they can attach the TimeCore to their computer and use the TimeCore’s MIDI ports directly in software application like DAWs. It works similar to connecting a MIDI device per USB. And yes, it is also supported on Microsoft Windows.

TPi

What has been the initial feedback to the device?

We were particularly keen on hearing the initial responses of our first group of users. We made a number of TimeCores available to a focus group of lighting and video operators across UK, Germany, Belgium and the Netherlands.

It’s wonderful to hear the stories of how they used the device and to see the pictures. The TimeCore was used as a generator, converter and obscure time code trouble-shooter on festivals and corporate shows.

Photos courtesy of Visual Prodcutions www.visualproductions.nl

Professional Used gear

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PSA: THE BIGGER PICTURE

Photo by Bench Accounting on Unsplash

ENSURING LEADING INSURANCE FOR OUR MEMBERS Let’s start with a bold statement: The PSA has vastly improved the insurance landscape for its members. Of course, this is no recent claim, it happened back at the very beginning of our existence, when selfemployed technicians didn’t realise that they needed their own public liability cover and the companies that used them assumed that all crew were covered by their insurance. How things have changed.

against a claim. Of course, the realisation that self-employed people needed cover was only the first step, finding a suitable policy and reducing the premiums from eye-watering to manageable was next - that process was an initial win for the newly formed PSA, before some current members were out of nappies.

That worked for a long time and coupled with discounted premiums for members, added a tangible benefit for a growing membership. Naturally, there are some that are always looking to improve – enter Crewcover.

Precision Broking, PSA friends and specialist insurance brokers asked us to join them for a look at how they could improve things. They were keen to not only improve value, but to create a simple, purchasing process, still with PSA membership benefits in mind but online and with near instant access to policy documents - there have been many occasions when we’ve rushed a new member their membership details so they could get the insurance for a job that started the next day. Crewcover achieved those aims, not without considerable investment of time and money to create a unique product for our industry that, crucially, wraps up membership of the PSA in the price...no more scrambling for a new membership number to get access to preferential product - it’s all in one and gives the addition of a whole host of

INSURANCE - IT’S PART OF OUR HISTORY A quick recap then: Hire companies insure their kit against it getting damaged. If it does get damaged, the insurance should cover the replacement, leaving the insurer out of pocket rather than the hire company. Thing is, insurers don’t like being out of pocket so, if they can find who’s to blame, they’ll take measures to get their money back. Of course, if the fault lies with a self employed technician, they’re the ones that will get chased for the money and that’s why they need public liability cover, insurance that covers your perceived negligence in the workplace.

Perceived because the technician’s insurer will, when liability is in doubt, argue on your behalf...and that’s where the costs can really mount. It’s not all about the cost of replacing kit; think more of the legal cost of defending 104

PSA: THE BIGGER PICTURE

PSA membership benefits in mind but online and with near instant access to policy documents - there have been many occasions when we’ve rushed a new member their membership details so they could get the insurance for a job that started the next day. Crewcover achieved those aims, not without considerable investment of time and money to create a unique product for our industry that, crucially, wraps up membership of the PSA in the price...no more scrambling for a new membership number to get access to preferential product - it’s all in one and gives the addition of a whole host of benefits over and above great cover. We must stress however, that despite the online purchasing and policy issue, there are human beings at the end of the phone that will help with any questions about cover.

MORE KNOWLEDGE, MORE PRODUCTS As Precision Broking MD, Murray Torrible, said: “We’re really pleased with the reception that the industry gave to Crewcover, we felt it was worth the effort and our insurers have an improved understanding of the sector.

The acid test of any policy is claims and, backed by our policy of being on the side of the policyholder, we have had positive results that have increased confidence in the product on all sides. That experience has led to the development of the Live Insurance product, a comprehensive offer.

The key difference is that, as all companies are different, we can’t use a ‘non-advised’ online system, although we have developed a website that members can use to access documents once the insurance is in place, it’s all about the right cover, competitive rates and minimal fuss at the point of purchase.”

THE SUM INSURED IS NOT ALWAYS THE SUM INSURED We’re mostly aware of the headline sums insured under public liability insurance, 2, 5, even 10 million are commonplace, but read further and you’ll find situations where your cover is limited or even non-existent. One area where many policies come unstuck is equipment under your custody and control - kit that you may be working on, plugging in to the wrong power supply or simply carrying; it has happened, it’s not a nice position to be in. Knowing that some techs had had claims reduced or turned down, Precision negotiated terms that cover policyholders to the full indemnity amount. Still, we wouldn’t recommend doing £5m worth of damage to your client’s kit.

MORE MEMBERS, MORE BENEFITS From a PSA perspective, Crewcover and Live Insurance has led to an increase in membership which, in turn, has enabled us to add to the benefits of membership. Each individual member has access to PSAdditions, a website dedicated to getting the best prices on all manner of day-to-day expenditure as well as cashback deals from a whole host of retailers. We did some sums and, with a little effort, we reckon that an individual member can recoup the cost of their insurance/membership cost over a year - airport parking and flowers being not entirely unrelated favourites at PSA Towers. With the addition of Live Insurance, our company membership offer has been expanded with an enhanced business support service, not just the usual, free, over the phone advice but an additional library of business document template, for when you’re stuck with just what to put in that contract of employment.

From an early win to an industry-specific, specialist product, developed by a tenacious bunch with excellence in mind, together we seem to have created a virtuous circle by taking a must-have product and adding valuable membership benefits as well as the benefit of a stronger, larger association that can speak assertively on behalf of its members, of that you can be assured.

TPi

EXTENDING THE OFFER More recently, and building on the development of Crewcover, Precision Broking started to look at other areas. Production Managers and other individuals in management positions are directing people in their work as well as offering advice that clients may act on. Both of those situations present different liabilities to those covered by public liability insurance, they require employer’s liability and professional indemnity cover (yes, even if you’re not paying people, those under your instruction are deemed employees).

Initially offered as additions to Crewcover, the development of policy wording led to the decision to go the whole distance and create wording that would combine all liabilities held by a company; property, kit, employer, public...the lot. Thus, Live Insurance was born.

www.psa.org.uk

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INDUSTRY APPOINTMENTS

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INDUSTRY APPOINTMENTS

Absen Europe has announced the appointment of industry experts Liam Winter as Product Director and Michael Scott as Technical and Project Manager. Winter joined Absen Europe in July from PSCo, Absen’s UK distribution partner. With more than 15 years of experience in the AV industry in a variety of senior sales, he has a wealth of knowledge to draw on.

In the role, he will work with customers to determine their needs; stay close to the market to understand trends; communicate with Absen’s Chinese headquarters on market demands; conduct training and host customers at headquarters and industry trade shows.

“The LED market is exciting, fast moving and continuing to grow exponentially. I have witnessed first-hand how Absen has taken a lead role in product innovation without compromising on outstanding product quality and customer service,” said Winter.

“I am very proud to join the expanding team and bring my passion for technology and constant improvement to the table as the company continues on its journey of success and development,” he concluded.

Complementing Winter’s role, Michael Scott has taken up the position of Technical and Project Manager. Scott will manage all aspects of Absen’s Technical Service Department - defining processes and standards, providing direct supervision and leadership to all technical personnel, and establishing and training the local service and project management teams .

Scott joins Absen from world digital signage leader JCDecaux, where he oversaw a programme to standardise the configuration and software across its 2500+ digital displays. He has also held tenure with Clear Channel International, working alongside many international suppliers of LED displays.

Audiologic has made Sales and Marketing Manger, Andy Lewis, a Director of the company. His appointment reflects the progressive outlook of founding Directors Simon Stoll and Matt Boland, as Audiologic contemplates a future of continued expansion. It’s a highly significant step for Lewis, who has spent the last four and a half years in the thick of helping to accelerate growth in the business.

Avolites has recently appointed Fairlight as the exclusive distributor of its lighting and video network control products in Belgium. The exclusive partnership, which took effect on the 1 July, follows nearly 2 decades of successful collaboration between the two companies.

Commenting on the relationship, Koy Neminathan, Sales Director for 106

www.interfacio.com • +44 208 986 5002

INDUSTRY APPOINTMENTS

Opposite: ChamSys’ Aziz Adilkhodjaev; Audiologic’s Andy Lewis; The AED team taking part in the Verto challenge at Prolight+Sound.

Below: Maestra London expands the team with Leonie Cumiskey, Frank Uhl and Paul Hayes.

Avolites, said: “We are very satisfied with the performance of Fairlight in the Netherlands. They bring Avolites to a larger audience by undertaking numerous seminars, trainings and demos regularly. Furthermore, Fairlight always carries a large stock of Titan, Ai and Art dimming products. This is supported by their technical department who have been assessed and accredited by Avolites and thus provide the best technical assistance.”

Technical service in Belgium will be provided by Roadtech Support, Fairlight’s Technical Support in Belgium.

ChamSys has announced that Aziz Adilkhodjaev has been named the company’s International Business Development Manager. In his new role, he will be responsible for expanding and strengthening the international distribution network of the brand, as well as improving international customer support and training to enhance the user experience.

Chris Kennedy, ChamSys Managing Director, recognised this key management team appointment as an important element to maintain ChamSys’ rapid growth: “With his detailed knowledge in the field of lighting control, Aziz will assist in taking the MagicQ MQ500 and MagicQ software to a new level, and his expertise in international distribution will also help ChamSys to expand into new markets.”

Adilkhodjaev said: “I am really excited about the MQ500. It’s an extremely powerful product with up to 200 universes from a single console and many unique functions - it can really deliver a punch. I am really looking forward to playing a major role in its evolution.” Adilkhodjaev will be overseeing distribution in the Middle East, Africa, Asia - Pacific regions and Russia.

Eastern Acoustic Works (EAW) has announced the appointment of Audio Americas as its new Latin America sales representatives. Audio Americas, with offices in Santiago de Chile and Mexico City, specialises in professional audio, consumer electronics and musical instruments.

“We are very pleased to have Audio Americas join our international sales team,” said TJ Smith, President and General Manager of EAW. “They have a tremendous reputation and I am confident their knowledge and expertise of the industry will add considerably to our growth in the region.”

Audio Americas works with more than 175 customers in 28 countries.

With a customer base that includes wholesale distributors, specialty retailers and technology integrators, they will not only provide depth of distribution but also the knowledge and expertise that will support EAW’s user base in Latin America and the Caribbean.

“We have partnered with EAW because of their proven record as a manufacturer of professional audio solutions that address the live sound reinforcement and install markets, where we see opportunities for growth,” commented Matthew Garfein, President of Audio Americas. “We look forward to building new EAW partnerships with leading professional audio distributors throughout the Latin America and Caribbean region.”

Event design and technical production company Maestra London expands its team with three new staff. Leonie Cumisky joins as PA and Office Manager, Paul Hayes jumps on-board as Assistant Technical Manager and Frank Uhl is the new Warehouse Manager.

With the appointment of AED France as Prolyte distributor next to its

existing distribution partner Axente, Prolyte Group has guaranteed full distribution coverage in France, offering customers optimised access to the range of Prolyte products.

Prolyte Group’s trusted partner Axente, made it possible to succeed to open the French market for Prolyte and grow a trused and steady customer base.

By adding AED Group to the distributing network in France, Prolyte hopes to open up more market segments by offering an alternative sales channel. “It’s really important for us to offer optimum service and flexible access to our product ranges,” stated Ralph Stockley, Prolyte CCO. With this latest expansion of the Prolyte partner network, customers can be assured to have the best possible access to the full range of Prolyte products, as well as expert support. AED France will host an Open House on 21 September in Paris. In a continuous programme, from 14:00 o’clock onwards, a range of Prolyte products will be presented. There will be a Verto demonstration as well as a spectacular live demonstration of the BGR truss.

Renkus-Heinz is delighted to announce the appointment of a new Exclusive Sales Representative for Cyprus, V Hypersound & Light. Cofounded in 2013 by Vassos Mouzouras and Kypros Shekkeri, V Hypersound & Light has built on its co-founders’ deep experience to rapidly become one of Cyprus’ most respected distributors. Headquartered in Nicosia, with a dedicated showroom and demonstration facility, the company is renowned for its solution-based approach and commitment to customer care.

TPi www.tpimagazine.com/category/industry-jobs/

create together.

We are currently hiring for technical and support roles in our London HQ. Check out our website for the latest vacancies. d3technologies.com/en/careers

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TPi PRODUCTION GUIDE

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BACK CHAT

LUKE JENKS Managing Director of CODA Audio USA

always had and go back to the drawing board. Among other advances, CODA has reimagined compression drivers and done away with dome diaphragms. They invented coupler technology and have cracked to code for using sensor control to greatly reduce LF distortion.

All of their efforts have left a newcomer like myself scrambling to catch up. A year ago, I thought that all of the innovations coming down the pipe would be software, different types of beam control, materials and other coverage manipulation algorithms. What CODA has done is say, “let’s find the energy and commitment to go back and correct some things from the start so that what we do going forward from there is the most productive.” Getting things right from the beginning makes the path toward improvement in software and control much clearer. I am reinvigorated by this challenge and looking forward to the future.

What first interested you in the live events industry?

I was lucky to grow up around a vibrant underground music scene, while having the opportunity to see mainstream concerts. A great live show is a unique, powerful event regardless of its stature. The excitement of going to a big concert and the promise of a larger than life experience made those events unforgettable.

However, I couldn’t help but notice that, unlike the clubs, some people were getting really good sound while many were getting the short end of the stick. My seats at big concerts were invariably in the not-so-good zone. Eventually it occurred to me to try and be a part of the solution instead of complaining from the cheap seats.

It’s still early days for CODA Audio USA but what developments can we expect to see over the next few years?

We are working to establish CODA Audio as a leader in sound system innovation here in the US market. It’s a tall task that we will tackle by engaging with those who are looking for an advantage and fresh approach. We take audio very seriously but we also take great joy in it as well. Spreading the message that different can be better is what we are after and we want to do that by working directly with those who share this spirit. We will be expanding facilities and staff over the next year as well doing demos and events where we can meet and talk to people directly and show them to what CODA has to offer. The US market is a very tough one but the professionals that make it what it is know that paying attention to new developments is key to pushing the boundaries of what’s possible. CODA has a lot of new developments to share and we’ll be creating as many demo, listening and event opportunities as possible to give the market access.

What have been some of the highlights over your 20 year career?

From San Francisco to Serbia, Singapore to Pensacola and Montreux, I have had the privilege of making friends and working with them to help deliver the experience that the audience deserves. Sounds like a good plan for the next 20 years. In terms of events, being involved with the Sziget festival (Budapest) in the years where it grew from about 8 subs per side to 60 was incredible. Great people and a great event. There is also a Nine Inch Nails set and a Tool set that I will remember forever.

When you’re not thinking about audio, what would TPi readers find you doing?

I’d like to say playing guitar but the dust on them begs to differ. Generally, if I am actually not thinking about audio, you might find me in a forest by a river with my family. If the weather isn’t so good just give me a retro low-tech pinball machine to beat up for a bit and I’ll be happy. The mix of mechanics, physics, electronics and humans working together to be successful reminds me of something… Oh yeah, there’s nothing like going to a good club gig!

How have you found your first year with CODA Audio USA? It’s been an intense learning experience. CODA is part of the next generation of audio manufacturers and that youthful enthusiasm has given them the energy to take some of the major shortcomings that loudspeakers have 110

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