La tour Maersk sur le campus nord de l’université de Copenhague. Credit photo: Adam Moerk

With the installation of Constellation acoustic system by Meyer Sound, Copenhagen’s new Maersk Building demonstrates a major commitment to world-class dynamic and collaborative 21st century learning. Located at the Panum Institute’s Faculty of Health and Medical Sciences on the North Campus of the University of Copenhagen, the striking new Maersk Tower showcases Constellation in three distinct auditoriums.
With more than 300 loudspeakers in three venues, the Maersk Tower boasts by far the largest education-focused Constellation installation in the world, signaling an important step forward in the use of sophisticated acoustic technology in support of modern research and teaching.

All AV systems at the site were designed, engineered and installed by Stouenborg ApS of Copenhagen under the supervision of project leader Anders Jorgensen.
« The A.P. Møller Foundation’s commitment to offering the most advanced acoustic solution to the Faculty of Health and Medical Sciences was critical to the success of the project,” says Jorgensen. “Indeed, all principal parties involved in the project agreed that Constellation would be a catalyst for deeper and more collaborative learning experiences. By applying the most advanced audio technology, we are able to offer the ultimate flexibility for each room.
Different acoustic settings can be customized to synchronize with the presentation, whether that is a lecture format, Q and A, discussion, or even a musical performance. With Constellation, there is no need for radio mics, eliminating the separation between teacher and learner and allowing free and perfectly intelligible communication even in an audience of 504 seats. The possibilities are endless in terms of collaboration and new dimensions in learning. »

On distingue les points de diffusion encastrés (MM-4XP) sur le pourtour mural et au plafond de l’amphithéâtre. Credit photo : Laura Starmer

Sought-after qualities
« We expect that the Constellation systems, in conjunction with other state-of-the-art AV technologies within the auditoria, will introduce the highest possible quality of sound,” remarks Pernille Illum, project consultant with the A.P. Möller Foundation. “This will drive further developments in teaching and communication, benefiting students as well as international conferences. We expect these auditoria to become widely known and sought-after for these unique qualities. »
In the Maersk Tower auditoriums, the Constellation systems tailor the acoustic characteristics of the space with the touch of a button. In presentation mode, Constellation carries the voice of a lecturer throughout the room without need of a podium or headset microphone. In Q&A mode, both lecturer and students can hear each other without passing around handheld microphones. In one auditorium with flexible seating (including tables as needed), a group discussion mode allows students around a table to hear each other clearly while masking distracting conversations from adjoining groups. Ideal acoustics can also be created for special evenings featuring musical or theatrical performances.

Constellation creates flexible acoustics using multiple distributed microphones, placed throughout the space, which feed signals to a powerful D-Mitri digital audio platform for processing by the patented VRAS (Variable Room Acoustic System) algorithms. The acoustical signature of the room, as determined by the chosen preset, is generated by dozens of small, self-powered loudspeakers placed discreetly overhead and around the walls.

Credit photo : Laura Starmer

Three Constellation, one CAL
The equipment complement required by Constellation is proportional to room size. The largest auditorium, seating 550, deploys a total of 89 microphones, 124 loudspeakers and 19 networked D-Mitri frames, including core processing, D-VRAS and input/output. The other two auditoriums, seating 220 and 120, have systems with 32 microphones and 97 loudspeakers; and 32 microphones with 88 loudspeakers.
In addition to the ultra-compact MM-4XP and MM-4XPD self-powered loudspeakers, the systems also include MM-10XP subwoofers for full bandwidth reproduction. Presets with extended reverberation envelopes allow use of Constellation to create completely natural acoustical environments for musical performances, a possible alternate use for the auditoriums on special occasions.

A fourth, 120-seat space, features two CAL 32 self-powered steerable column array loudspeakers, widely hailed as a quantum leap forward in steerable array technology that offers an unprecedented level of accuracy both in its sonic quality and directionality. CAL is another example of unique solutions that develop from a Meyer Sound culture that is also dedicated to research and the application of science-based solutions to some of the most difficult problems confronting audio professionals. The last 20 Stella 8C ceiling loudspeakers and four MM-10XPs are spread out on two conference halls and a lecture hall at the top level at the 15th floor. Here, listeners can enjoy not only the sonic precision of Stella 8C ceiling loudspeakers but also the incredible view over Copenhagen.

Credit photo : Nalle Vikström

The Maersk building’s full AV infrastructure required installation of more than 22 km of cable, most of it Cat6a to support current and future networked applications. Both the Meyer Sound D-Mitri and Biamp Systems Tesira (used for auxiliary systems and smaller rooms) platforms share the common AVB open-source networking protocols. Other key equipment specified by Stouenborg includes Panasonic video screens and projectors, a 4k-capable Crestron Digital Media System, Onelan media players, and Smart Graphics computer interfaces.

Throughout the project, Stouenborg qualified and evaluated competing products to ensure that each installed component not only incorporated the latest technology but also provided the highest overall quality and was best suited to the task. This was certainly the case with the active acoustics system. “There is no other solution in the world that comes close to Constellation,” says Stouenborg’s project leader, Anders Jorgensen.
Opened in January 2017, the Maersk Tower expands the total floor space of the Panum Institute by 40 percent and houses some of the world’s most advanced facilities for medical education and research. The building’s name reflects funding and planning support from the A.P. Møller Foundation which was established by Mr. A.P Møller, who founded the Maersk Group with his father, Captain Peter Maersk Møller.

Paul McCartney’s long-running One on One World Tour has added 21 dates in the US this summer and autumn, with Robert Juliat Dalis LED footlights helping to showcase the evolution of his music from the 1960s to today. The US leg of the ongoing tour kicked off in Miami in July and will conclude in Detroit in October.
Lighting Designer Roy Bennett is tasked with highlighting “a vast array of musical styles over the decades” during the course of the three-hour show. High-tech AV solutions, including layers of transparent video, LEDs and lasers, form a backdrop for the history of the former Beatle’s music but remain unobrustive to fans.
“While we use many aspects of technology you never see them all at once, and they are never overpowering,” notes Lighting Director, Wally Lees. Upstaging provided the tour with 12 Robert Juliat Dalis 862S footlights. Making their debut with McCartney’s show, the Dalis LED asymmetric mini-footlights are distributed exclusively in North America by A.C.T Lighting, Inc.

Photo : © MJ Kim

Dalis 862S is a new variant of Dalis 862 Footlight. At 50cm in length, Dalis 862S is a shortened version of the original 1m model, with all the qualities and functionality of the full size version. Dalis 862S has been created at the request of lighting designers who need precise footlight coverage on curved and non-standard shaped stages where its smaller form factor can be a big advantage in delineating stage edges to perfection. The batten is inconspicuous from the audience viewpoint to ensure it does not impinge on the stage layout in any way. All controls and connections are located under the unit to maintain clean sight lines.
Both Bennett and Lees agree that the Robert Juliat Dalis 862S LED asymmetric footlight is “a brilliant little light.” “You can use them really easily thanks to the two positions: near and far,” says Lees. “Each fixture has two rows of cells: the bottom cell does the near position, the second row the far position. So they are versatile enough to capture any point on the stage.”

Bennett calls the Dalis “beauty lights that break through the video and make the artists look good. We have four on Paul to cover him in different areas and two on each of the side guitarists so we can cover them wherever they go onstage. We also have two on the piano and several on a lift, all in near mode.”
Lees also praises the fixture’s colour temperature.
“It’s fantastic – it can go from daylight 5600K or more, down to 2800K or less, or mix. You don’t have to choose one or the other.” Bennett emphasizes that equipment choices are made based on “the best of what’s out there. The lamp choice, the gear choice – we want the best of the best. That’s why we’ve chosen these products for Paul’s show. It’s a complex system; there’s a lot of gear all over the stage. But everything is working great.”

For more information on the whole Dalis family of fixtures, visit the Robert Juliat website

ETC has expanded its Unison Paradigm line of architectural lighting controls, increasing lighting station options with the line of Inspire control stations and making it easier to comply with stringent energy requirements with the new Dual Tech sensors.
The powerful and elegant Inspire station, originally introduced in the Unison Echo® product line, is now a member of the Paradigm family with an updated design and the full feature set of the Paradigm control system. Stations come in a range of styles and button configurations, which allow them to be a perfect match for any installation.

The Paradigm® Inspire® Control Stations come in one-, two-, four-, six-, and eight-button station options, as well as a four-button station with a fader. Each has a colour-controllable LED backlight to customise the look.

The Inspire stations can be easily programmed for preset lighting looks, zone control, space-combine functions or any other Paradigm control function. With one-, two-, four-, six-, and eight-button station options – as well as the four-button station with a fader coming late summer – the Inspire stations can be as tailored as the light itself. Laser marked button labels identify each button, and custom marked button caps are available to personalise any installation. The button caps are easily replaceable in the field if control needs change with ongoing use.

The Paradigm Dual Tech Sensor family

Each button features a colour-controllable LED backlight that offers a quick visual indicator of function and button state. And when it’s time to set looks, the Inspire fader station offers basic intensity control as well as intuitive colour control for hue, saturation, and intensity for colour mixing luminaires. Contractors will appreciate the thought that went into making installation a snap. The stations are standard sizes and can easily be ganged together to fit into any control location required.

The Paradigm® Inspire® Control Stations come in cream, grey, black, and white finishes.

Stations and faceplates are available in cream, grey, black, and white, ensuring a visual fit in any setting. Behind the scenes the stations use the LinkConnect two-wire, topology-free system to give installers the freedom to put stations where needed without worrying about wiring.
The Paradigm Inspire button stations will be available at the end of April, with the four-button fader station available in early summer.

For more info, visit ETC Website

Photo : © Ralph Larmann

When “panic rocker” Udo Lindenberg goes on tour it becomes total art for the eyes and ears. In his locker Udo Lindenberg has everything that makes a show the absolute highlight: artists, UFOs, sensations and, as always, his own secrets, which create a light and video show with extra class and perfect sound. This was certainly the case with the recently completed tour of the new album “Stronger than Time” (“Stärker als die Zeit“). The 71-year-old does not think he will ever stop, and promises his fans another 30 years of well-refined panic with orchestra.

Photo : © Ralph Larmann

And Günter Jäckle, his lighting designer and operator for many years, is likely to be at his side for many years to come. For this tour, the design was created in the show lab of Michael Schenk’s company, epicto in Edingen-Neckarhausen. As with the previous tours of the panic-rockers, Jäckle is again using a lot of fixtures from Karlsbad-based GLP. On board are 28 brand new JDC1 strobes, 24 impression X4 Bar10 as well as 24 GT-1 hybrids.

“The JDC1 was a genuine premiere for me,” admits Jäckle, who for the first time ever abandoned conventional strobes and instead directly integrated the new JDC1 LED strobes into his design. “This lamp — a synthesis of strobe and floodlight — has never existed until now,” he says, describing the unusual characteristic of the JDC1. “And the tilt function comes on top of that”

Photo : © Ralph Larmann

Speaking of synthesis, he also talks positively about the GLP’s GT-1 hybrids. “These produce great, crisp beams and an incredible zoom range. They are absolutely reliable – but what else would you expect?” Both lamps are used not only as floor effects on the elevated rear stage, but also on ladders to the right and left of the stage, where the GT-1 and JDC1 are mounted alternately.”
In addition to the GT-1 hybrid and the JDC1 strobe, Günter Jäckle once again relied on GLP’s impression X4 Bars. A total of 24 pieces of the shorter impression X4 Bar10 were used in a battery above the stage and ensured an entire range of dynamics, from scattered beams to glittering floodlight effects.

Photo : © Ralph Larmann

“Designing and lighting an arena tour is still a discipline quite different from the upcoming open-air gigs with Udo. It’s much more dense, much more atmospheric,” Jäckle continues, outlining the differences with the upcoming show at the Meyer shipyard in Papenburg and the “Panikliner”, which sets sail for five days at the beginning of September.
From his long history with the primordial German rock scene, Jäckle knows to always expect the unexpected: “Udo is always close at hand, knows what he wants, how he imagines certain parts and ultimately also decides how the show should look. And you might have to be prepared to create that special green ‘private eye’ light. You never know.” Even Jäckle doesn’t know if a look like this will be part of the show in Papenburg — but you can bet that lamps from GLP will be there at the start again.

Photo : © Ralph Larmann

Further information visit GLP website

Featuring 123 floors, Lotte World Tower is home to a wide range of facilities and public spaces, including business offices, private residences, a luxury hotel, a mega mall, a cinema, an aquarium, a concert hall and a large observation deck.
The building owners hired Hansam System, Co. and lighting consultants EOS SLD and Nikennomura to design an ambitious lighting solution that would visually enhance the architecture of the building’s roof, observatory ticketing area and grand ballroom.

After careful consideration Hansam System, Co. selected a full array of industry-leading Martin fixtures for their creative versatility, rich color palette and proven reliability under adverse weather conditions.
“This was an amazing project to be involved in,” said Hongsik Kim, CEO, Hansam System. “We are honored to have our work seen by anyone who visits Seoul. The exceptional brightness and vibrant colors of Martin fixtures are a perfect match for an application of this magnitude.”
“It’s an honor for our products to highlight such an iconic landmark,” said Ramesh Jayaraman, VP & GM, Harman Professional Solutions, APAC. “Lotte World Tower is a world-class building that will attract millions of guests in the years to come, and thanks to a complete Martin solution implemented masterfully by Hansam System, its magnificent architectural design will be a beacon of light to all who see it.”

In order to increase the building’s visibility, Hansam System deployed Martin Exterior Wash 210 fixtures on Lotte World Tower’s lantern-shaped roof, which can now be seen from miles away. Designed to illuminate large structures, building facades and bridges, the Exterior Wash 210 offers superior color mixing and is IP-rated for permanent outdoor use.

“Because of the dangers involved with maintaining fixtures at this height, we needed the lighting fixtures to be durable and reliable enough to withstand the wind and the rain,” said Dongjim Kim, Sales Manager, Hansam System. “We had faith that the Martin Exterior Wash 210 fixtures would not fail in adverse weather conditions.”
Expected to draw around 3 million visitors annually, the Seoul Sky Observatory at the top of Lotte World Tower offers breathtaking views of Seoul and its surrounding area. To create an exciting atmosphere while visitors wait in line for a ticket, Hansam System installed Martin VC-Dot 1 LED string lights in the ceilings, which are controlled by a Martin P3-050 system controller.
“The space we had to work with posed some difficulties, but the VC-Dot system made customizing the configuration very simple,” said Kilyoung Jung, Director of Sales, Hansam System. “This was our first time using the Martin P3-050 system controller, but thanks to its intuitive design, we got the hang of it in no time. The P3-050 allowed us to create inspired scenes which maximize the potential of the VC-Dot LED string lights.”

The Signiel Seoul Hotel occupies the 76th to 101st floors of the tower, and features a 5,920-square-foot grand ballroom that can accommodate up to 300 seated guests. In order to provide unique and intimate environments at a wide range of events, the ballroom is outfitted with a range of Martin fixtures, including MAC Viper Profile, MAC Viper Wash, RUSH PAR2 RGBW Zoom and RUSH PAR2 CT Zoom.
“To enable a wide variety of lighting scenarios, the lighting fixtures in the ballroom should be flexible and powerful,” said Sungyu Kim. “The MAC Viper Profile and MAC Viper Wash can handle the needs of any event, whether supporting a dramatic performance, providing theme to a wedding or strobing a dance floor.”

More information on Martin website

ETC’s ColorSource® Linear family is now complete with this week’s launch of the ColorSource Linear 4 fixture. This is the third and longest variation of the ColorSource Linear fixture and measures a full two-metres in length.

Like the half-metre and one-metre fixtures, Linear 4 comes in both original and deep blue array options. Both offer a richness of colour, and quality of light output you’ve come to expect from ETC ColorSource fixtures.

Every half-metre of the Linear 4 is individually addressable and controllable from the simple 7 segment display. It’s like having four fixtures in one. Linear fixtures are perfect for use as curtain warmers, sidelights, an unbroken stage wash, and in any installation location that is too narrow for many other standard fixtures.

More on the ETC Website

Pen Elcom launch of the new CoolRac FT-80-Q-FC – a near-silent exhaust fan, specially designed for flight casing that requires efficient and quiet heat management. Multi-national loudspeaker component, flightcase hardware and premium 19” racking manufacturer Penn Elcom continues to innovate with the launch of the new CoolRac FT-80-Q-FC – a near-silent exhaust fan, specially designed for flight casing that requires efficient and quiet heat management.

Setting new standards in flight case cooling, the total noise levels of the FT-80-Q-FC in operation is just 22.5 dBA (0.3 sone) and is a dramatic reduction to average fan noise levels. The fan is ideal for mounting in a whole range of flight case racking equipment, and provides thermal regulation for sensitive equipment such as AV, TV or musical equipment. This allows the equipment to operate safely and optimally while remaining within the protection of its flight casing, whether stationary or in transit. It functions by expelling hot air from the front of the flight case rack, preventing thermal damage that could lead to thermal failure. This differentiates from many other generic fans that simply circulate hot air within the casing rather than expelling it.

Digital control gives refined and super-accurate heat management via continuous temperature monitoring and ‘set-and-forget’ fan control. All the components are optimised for quiet running, have over-temperature alarms and benefit from running off a universal power supply.

The lightweight CoolRac FT-80-Q-FCs weighs just 400g each and is engineered to the robust and reliable specifications common to all Penn Elcom products. Nine fan blades improve the airflow and facilitate highly efficient ventilation. The impeller aerofoil shape was specifically devised to minimise the noise levels and deliver more airflow and pressure. (Fans should be cleaned regularly to ensure optimum performance).

The CRC-TEMP is a thermal sensor accessory that can be attached via an acrylic adhesive pad and plugged in to the TEMP socket on the FT-80-Q-FC. This should ideally be located in an area where it can measure ambient temperature rather than directly attached to the main heat source!
The unit’s thermal bi-metal reed switch is made to operate at temperatures up to 40oC and it will re-set when the ambient temperature reaches 30oC or drops to minus 2oC. The Fluid Dynamic Bearing has a 2 years guarantee and is an oil capsule to avoid lubricant leakage. It is as quiet as a sleeve bearing, but offers a significantly higher service life!

The CoolRac FT-80-Q-FC is mounted in a recessed dish available in standard sizes for easy mounting to any existing style of flight case, just like fitting a standard socket or a handle dish. Fuss-free mounting – either horizontally or vertically – is quick and easy using a handy fitting template, which is included.

More on the Pen Elecom website

Steven Savvides (à droite), président du Musical Distributors Group, et Gabriel O’Brien, directeur commercial, au Larry’s Music Center lors de la remise du prix.

From July 13th to 15th, the international MI industry convened at the Summer NAMM 2017 in Nashville, Tennessee. Over 1,600 manufacturers and companies made the trip to the Music City Center to present their latest products and technologies to almost 15,000 visitors.
Also in attendance was the Musical Distributors Group (MDG), which, as the exclusive U.S. distributor of the Adam Hall Group, presented the brands LD Systems® and Gravity® at the trade fair.
“In addition to the Gravity stand solutions that made their NAMM debut this summer, we were particularly excited about the buzz surrounding LD Systems products,” explains Steven Savvides, President, the Musical Distributors Group. “Amongst the highlights were the CURV® and MAUI® series, including the new MAUI G2 range.”

Steven Savvides describes the ‘Aha-effect’ as follows: “When we presented the MAUI 5, we switched from the house system to the individual MAUI 5. The audience was certainly impressed, which was also made evident by the large crowds flocking to the system after the ceremony. Many agreed that even at the back of the large hall, the audio quality was extremely clear, crisp and articulate.”

Further information on websites:

• LD Systems
• Gravity stands
• Musical distributors
• Namm

John Garberson, owner of Creative BackStage, picked up some valuable experience recently when he worked a Hello Arizona-produced show by the legendary Nile Rodgers. Garberson had created a design for the Rock and Roll Hall of Famer that was built around a lot of high-energy aerial effects.
At the last minute, though, he learned that he would not be allowed to use haze. With his original lighting concept severely crimped, he and his LD and programmer James Simpson reworked their plans and created a lushly colored stage design using the 32 CHAUVET Professional Rogue washes in his rig. For added good measure, they turned up the eye candy volume with the four STRIKE 4 multi-formatted fixtures on their front truss.

“Lately, we’ve become more aware of building versatility into our rigs,” said Garberson. “In this case, it certainly paid off big time for us. The night before the show we were all programmed with haze for lots of sky effects. But the day of the show management said ‘no haze.’
We didn’t have a backup plan. Yes, this was a challenge. There were limitations to how we could use our spots. Practically speaking, there really were no walls or ceiling that could be hit with our spots effectively, and our backdrop was custom made with LED tapes, so that wasn’t an option either.”
Garberson compensated for this by changing plans for the Rogues in his rig. He had 24 R2 Wash units positioned throughout his design: 10 on the front truss, eight on mid-stage truss and six on the upstage truss, all flown about 15’ high. He also had eight Rogue R1 Washes on the upstage deck.

Originally these fixtures were intended for subtle backwashing and for audience and aerial washing, but Garberson repurposed them to provide intense on-stage color saturation. “Basically, this became a wash effect-only type of show on the lighting side,” he said. “We used a lot of color ramps, color effects, and flash washing effects to just rock the stage.”
Much of the flash came from the STRIKE 4s in Garberson’s rig. He relied on these high-output lights to create intense audience blinders during intense highpoints of the concert. At other times, he created a mellower mood by using the fixtures to surround the stage in a warm white glow.

Adding to the dance music energy on stage for hip-hop pioneer Nile Rodgers (who also produced hits like David Bowie’s “Let’s Dance” and Madonna’s “Like A Virgin” in his long career) were truss-mounted CHAUVET DJ Swarm FX Swarm 5 FX derby/laser/strobe effects. “The Swarms gave us some cool retro dance looks, which we wound up needing more than expected because of the situation we found ourselves in,” said Garberson.
The situation with the lack of haze notwithstanding, Garberson’s lightshow on this late spring evening worked to pump up the crowd, thanks to his flexible rig and the charisma of the star on stage. “The best thing about my lightshow was the artist I was designing for,” he said. “He projected such great energy on stage. I’m glad we were able to support him with some great colors.”

More on the Chauvet Profesional Website

Canadian singer / songwriter The Weeknd is currently rocking plenty of style and enjoying success, critical acclaim, multiple awards and several hits from his chart-topping third studio album ‘Starboy’ …. propelling him a long way from his underground roots and early anonymous mixtapes uploaded to You Tube in 2010.
Lighting for 2017’s ‘Starboy Legend of the Fall’ tour has been designed by Sooner Routhier who picked Robe Spikie moving lights together with BMFL Spots and WashBeams to be at the heart of the rig.

Photo © Steve Jennings

Sooner has worked with The Weeknd (Abel Tesfaye) since 2012. She and design business partner Robert Long of SRae Productions were contacted by his creative directors Lamar C Taylor and Drop last year and asked to assist with this tour, which involved lighting an impressively beautiful flown sculpture created by production designer, Es Devlin. Much of the vibe of the show is dark, saturated and moody, and with projection also being central to bringing the powerful scenic centrepiece alive, the task of show lighting started with several brain-teasing challenges. Nashville based Sooner – known for her fresh and inventive approach – enjoys challenges and thinking out-of-the-box.

Photo © Steve Jennings

She worked closely with lighting director on the road / associate LD Darien Koop on programming and evolving this one, while SRae Productions’ technical director Matt Geasey coordinated practical and physical aspects like integrating lighting with the set building process for a tourable solution.

The 80 ft. wide by 120 ft. long triangular structure constructed by TAIT is made out of 10 smaller triangles and eight trusses, all individually flown on multiple axes of automation, so it can transform into numerous different shapes. It resembles a huge, elegant origami-style jet-fighter and makes a massive architectural statement that defines the performance space. The 10 moving flaps are covered in stretched projection screen material and finished in magnetically fitted plexi fascia panels.
The nose, tail and wing sections come down to within touching distance of the stage, which included a long runway below. The entire lighting design is based around complimenting this aerodynamic piece of art and the video projections applied to it via 20 projectors which are positioned on towers located all around the arena. The key to producing lighting to work with the intense projector beams … “was keeping it simpler and cleaner than other tours, so it looked precise and definite in combination with the projector beams.”

The 55 x BMFL WashBeams are divided into different groups. Twenty-four in 12 pairs are rigged along the large double-truss central spine of the structure, providing high impact effects lighting and highlighting the gloss-finished runway below, which brings The Weeknd up close to his fans. The rest of the BMFL WashBeams are on the grid flying above the structure, eight each positioned on the two long edges, with another eight towards the back of the grid where the triangular shape is widest. These produce color, texture and some incredibly cool and spacey looking atmospheric engineering from above, outlining the structure and bringing a totally different dimension.

Photo © Steve Jennings

A single BMFL WashBeam sits upstage center at the stage end of the runway and is used as a powerful beam to silhouette the artist. The eight BMFL Spots are in four groups of two and used as follow spots. There are two at each end of the upstage truss above the rear 80 ft. wide LED video wall, with two more stage left and right, on the sides of the mother grid, where cutting in from this mid position they can light anywhere onstage or along the catwalk. All eight of these BMFL Spot fixtures are operated using a BlackTrax remote system, triggered via the main lighting console. “They are brilliant for this application,” stated Sooner.

They decided on using BlackTrax due to needing unique positions every day for their spot lights to hit The Weeknd as he moves up and down the long thrust, and to deal with several automation presets (as the structure moves) that block the standard arena follow spot sightline. Sooner is also not a fan of seeing people operating spots directly above the audience … all factors which made the combination of the BMFL and BlackTrax ideal for this scenario. Darien added, “We’ve not had a single BMFL Spot or WashBeam go down the entire tour during the show. Reliability is really important!”

Photo © Steve Jennings

Darien has been a big BMFL fan ever since the fixture was launched in 2014. “They continue to outperform virtually every other fixture in this class … and some!” he said, explaining that they are being used in a raw and ‘pure’ way on this show, with features like brightness smoothness and reliability mission critical.
“The WashBeams have been incredible” he stated, “Truly I love them!! Each fixture performs flawlessly, making one amazing look after the other.”
The shutters have been essential for many reasons, including framing out light from the grid above spilling down onto the set, and for tight focused key light onto the band down below. Thirty-four of the 90 x Spikies are positioned along the structure’s back truss (traversing its full width) with the other 56 deployed on four angled internal ‘fins’. They are a workhorse fixture for musical accents and other specials.

Photo © Steve Jennings

Sooner loves the output for the tiny size of the Spikie as well as the versatility. “You can flood them out into a wash or tighten them up to be sharp and beamy.” She added that with 90 of them, they can create a massive amount of dynamically different looks throughout the show. Darien thinks Spikies are a perfect fixture for this application due to the speed, brightness, pan/tilt angle, zoom and prism and reports that they have been “incredibly reliable” as well!
The structure’s unique shape is further accented with zoned LED strobes and outlined with LED battens. Upstage is the LED video wall and a truss full of moving lights at the top. There are also two side LED screens for IMAG. In addition to dealing with the projections in a finessed and practical way, the other big lighting challenge for this tour … was completing the complex and detailed programming needed in the timeframe.

The two weeks of production rehearsals in Rock Lititz Studio in Pennsylvania were spent intensely programming. Cues were tweaked and fine-tuned in incredible detail, a process still ongoing for the initial shows, to ensure that the required separation between lighting and projection lumens was achieved, and that projection wasn’t flooded out by lighting. “It was a VERY delicate balance,” reiterated Sooner.
The programming process required so many person-hours that she and Darien worked in split-shifts. Sooner took the daytime slot, so she could also be present when the artist, creative directors and Es Devlin were there.
After a briefing on the day’s notes, Darien took over and blitzed-it through the night, populating the grandMA2 console with more cues. Darien also worked closely with d3 media server programmer Louis-Philippe Guadreau (LP) who is stationed at FOH during the show making live adjustments to the projection mapping masks. The positional information from the automation system is fed into the d3 to keep the images synched to the movement, while the IMAG mix is cut by Kevin Carswell.

Photo © Steve Jennings

During the pre-production stage, the tour’s production manager Rob DeCeglio and TAIT were instrumental in developing safe and speedy solutions for set and lighting. As much of the lighting as possible is installed and travelled in pre-rigged truss, with four trucks dedicated just to double-stacked rows of PRT sections including all the Spikies and most of the BMFL WashBeams. Stage manager Rod van Egmond oversees the daily truck pack and makes sure the kit all gets transported safely show-to-show.
All the lighting and video kit is being supplied in North America and Europe by Solotech, project managed for them by Rob Kennedy. Lighting crew chief Matt Lavallee is working alongside nine technicians, and there are six on the video crew including engineer Serge Bergeron. Head rigger is Chris Wilson, who supervises the 130 points needed each day to get the flown rig and the structure spot on. The tour is scheduled to continue for the rest of 2017.

For more product and general info, check the Robe website

A nice view of the Budapest’s Erkel Theatre.

The historic Erkel Theatre, one of the largest and oldest in Budapest has lifted the curtain on Sir Elton John’s musical ‘Billy Elliott’, complete with a Nexo STM Series modular line array system which was specified and installed in time for this prestigious production.
With over 1800 seats, the Erkel Theatre is Hungary’s largest theatrical auditorium. Named for Ferenc Erkel, composer of the country’s national anthem, the building was inaugurated in 1911, and has been through much redevelopment over the decades: most recently, it was closed for six years until 2013, when it reopened after extensive renovation.

Past and present at the Erkel, the PS and RS close to the M28.

Today it is the second venue of the Hungarian State Opera, and as the main Opera House prepares to close for its own renovation, the Erkel is expanding its programme to include musicals, folk, pop music and jazz concerts, as well as prominent contemporary composers such as Michael Nyman and Hans Zimmer. Accordingly, the Erkel has invested in an impressive NEXO modular line array system, integrated with Yamaha digital mixing and control, with full Dante network functionality, designed and supplied by Lisys-Project Kft.

The process of upgrading the Erkel Theatre’s audio systems has evolved over three phases since 2013, adapting the capabilities of the technology to the theatre’s programming at the time. The first phase of modern sound reinforcement saw the installation of NEXO PS15 point-source loudspeakers with RS15 subbass as the main PA system. A monitor system of PS10s was installed on stage, with additional PS Series cabinets for mobile use, and the entire system was powered by NXAMP processor/amplifiers, running in analogue input-signal mode.

From left to right Ferenc Molnár of Lisys-Project, Sándor Böröcz Lisys-Project CEO and Jáhos Matuz, a sound engineer deeply in love with his newly equipped venue.

Lisys-Project engineer Ferenc Molnár supervised the design and installation. “This PS system served the basic functions perfectly at a time when the theatre only hosted opera and spoken word performances.
The technical level of the system was tailored to this programming, and delivered excellent coverage and high SPL, even in this large space.” A year later, Erkel expanded its PS Series system to handle the small-scale pop and jazz concerts now coming into the theatre.
PS10 and PS15 cabinets were added to cover the front rows, and to act as side-delays for the large balcony. The theatre was becoming more and more popular with pop fans, and at the end of 2015, it decided to present a Hungarian production of ‘Billy Elliot’ as its first large-scale musical theatre performance. Such a presentation called for a modern high-specification line array system, and the choice was Nexo’s modular STM Series. The decision was based on the choices of the Erkel’s technical department, and the excellent working relationship with Nexo products and Lisys, NEXO’s distributor in Hungary – “nobody had heard the system when they made the decision, we did the demo afterwards!” recalls Molnár.

The M28 hangs.

The Erkel thus becomes one of the first theatres in the world to install a Nexo STM line array using M28 omni-purpose modules, 9 cabinets per side. Two S118 subs are positioned either side of the stage, and 8x ID24 super-compacts are mounted across the front edge of the stage, to provide nearfield for the first rows. Additionally there is a L/R stacked system, using 1x M28, 1x B112 bass module and 1x S118 sub.

Two S118 subs add the needed low extension to the M28 main system.

“Although it is large, the auditorium is a very simple space,” explains Erkel sound engineer Jáhos Matuz. “We used NEXO’s NS-1 simulation software and SMAART v.8 to create the design, calculating the distances for direct sound.
When we did set-up and fine-tuning, we did the measurements of reflected sound from the half-barrel ceiling and set the parameters on the system controller as necessary. The M28 arrays are throwing 42 metres to the furthest seats in the balcony, delivering around 98-100dBA in the stalls for ‘Billy Elliott’.”

Billy Elliott and…PS10 !

A distinctive feature of the installation is that the STM arrays can be easily dismantled. When the Erkel is presenting opera and the line arrays are not in use, they are taken down to improve sightlines and scenery positions. “It is a big bonus that the STM M28 hangs are very easy to install.” In opera mode, Matoz still has the option to use the other Nexo elements which remain in situ.
The monitoring system on stage and in the orchestra pit uses the Erkel’s inventory of Nexo PS Series. These bring the total number of Nexo cabinets in the theatre to more than 80, amplified by 16x NXAMP4x4s and NXAMP4x1s fitted with Dante cards to provide full network functionality.

Sound engineer Jáhos Matuz mixes on a digital Yamaha system: there are two consoles in the control room, CL5 and CL3, and five RIO digital stageboxes (Rio3224-D and Rio1608-D i/o units) in the orchestra, amp-racks, wireless rack and at the mixers.

The CL5 and CL3 Yamaha, a smart solution to get a lot of inputs, place for 4 hands to work simultaneously and a some redundancy.

“In this system, everything including the amplifiers can be seen through the console,” explains Matuz. “All the information is right in front of you, under fingertip control. We have through-the-system compatibility from CL3 to STM; such reliability is worth the price, and the sound quality is great, among the best in its category. In my opinion, the CL Series are the most stable mixers available today.” For ‘Billy Elliott’, the Erkel is running 100 channels of audio through its Yamaha mixer, more than 26 of which are radio mic channels on a Sennheiser G3 Series system.

Theatre sound engineer Matuz is delighted to be driving one of the most highly specified installed systems in Hungary. “The natural sound of the STM is very musical without any manipulation, although a few tweaks set it very easily to personal taste. The mid-range has a lot of headroom and depth, and the top end is clean. In this production, the child’s voice can be heard very clearly, even with a large orchestral sound behind it.”

The Erkel Theatre and 1800 seats as seen from the stage. On the bottom under the balcony, two Yamaha desks are ready to roll.

For further information visit:

• • Nexo website
  • Lisys-Project Kft website
  • Erkel Theatre website

Jeremy Lechterman and Jackson Gallagher of production design and creative direction partnership FragmentNine selected the dense light beams of the Claypaky Mythos2 to add texture to their lighting design for Mercury Prize-winning indie rock band alt-J in their first arena show of 2017, held at The O2 Arena in London.

L’O2 Arena de Londres

FragmentNine’s design has since been nominated for a prestigious Knight of Illumination award. The design was an upscaled version of the production’s touring lighting design, also by FragmentNine, for The O2 Arena’s 10th anniversary showcase. “As a band, alt-J fly fairly under the radar in terms of their visual appearance and personalities; we set out to create something that wraps them and shrouds them in mystery,” reveals Lechterman. “The catch phrase ‘immersive’ was always on the tip of our tongues, and we feel the end result is quite evocative of that idea.”

Photo ©The Fisfth Estate.ltd

By using Mythos2 in the set’s floor package, as well as rigging a number of the fixtures onto independently moving trusses, FragmentNine created a range of tessellated looks that both framed the band and immersed the audience in the stage environment. “As a one-off, the O2 concept was fairly complex and had an untested design element that contained a lot of moving pieces – literally and figuratively,” says Lechterman. “Design-wise we were taking a big risk on several elements – the scale, the trim heights, the automation – which we’d only been able to previsualise.”

FragmentNine needed a reliable, fully featured spot fixture that could fit with the form factor of the production’s custom dollies. The Mythos2 was the only unit to fit the measurements whilst still retaining all the features of a more “traditional” spot fixture.
“It was our first time spec’ing the Mythos2 on a show and we were nervous about using them on the ladders because of the throw distance,” says Lechterman. “We weren’t sure if they would work at 75ft from the stage. We were impressed and relieved when we turned the rig on for the first time and the Mythos2 did not disappoint!” The high-output beam of the Mythos2 was used to strike out against the show’s wrap-around video screens and its black and white treated content.
“The fixture’s optics are stunning,” says Lechterman. “Normally, that’s one of the first things that goes out the window when someone miniaturises a light. We’re continually impressed by how crisp, accurate, and flat the optics are. We (and our crew) also love how cool the fixture runs, especially the light out the front of the gate. We have it sitting inches behind our LED wall and we have experienced zero melting.”

The task of creating ever-changing looks from song to song was made simpler for the designers through the use of the Mythos2’s advanced colour engine. The fixture boasts a CMY colour system, 14 colour filters on three wheels, two CTO filters and one CTB filter, offering an extensive range of colour and hues. FragmentNine put the systems into practice, using authentic colours from stark reds to moody blues and greens, to accentuate the emotion of the music.

“We start every design concept from the point of intention and motivation – rather than just doing something for the sake of it looking pretty,” Gallagher discloses. “A lot of the new album has the underpinning of traditional British choral and orchestral music. So, we decided to subversively elicit the visual of a pipe organ, and use every bit of the space to our advantage.”

To create the towering on-stage looks, FragmentNine was aided by the Mythos2’s pipe beam mode, which produces a fixed 2.5° beam. Lighting fixtures for the O2 production were supplied by Portsmouth-based production company Liteup Events, who are supplying the tour world-wide with the lighting and control package, which includes the Mythos2.

“The Mythos2 units provided the core element of the show,” says Mark Callaghan, Liteup cofounder. “We work closely with manufacturers to build good relationships and to ensure our staff are fully trained. The equipment has been outstanding throughout.” Lechterman adds: “Claypaky is consistently within our top few manufactures when we are selecting fixtures for a show. Their ‘common sense’ elegance when it comes to design choices and their continual investment in R&D propels the industry further.”

alt-J’s upcoming seaside tour (with dates in Brighton, Margate, Bournemouth and Weston-Super-Mare), and current international festival circuit follows their third studio album, RELAXER, which was released in June 2017.

More on the Claypaky website

Under the artful guidance of producer/owner Jean-Claude Auclair, the Alhambra Theatre and Music Hall in Paris has flourished by serving up an eclectic mix of diverse musical genres intermingled with comedy shows and children’s productions.
To present such wide-ranging artistic diversity with the utmost sonic fidelity, the Alhambra recently upgraded its venerable Meyer Sound reinforcement system with new LEOPARD™ compact linear line array loudspeakers and 1100-LFC low-frequency control units.

The front of house where living is easy with a nice new Meyer PA, a Avid S6L desk and a GrandMa2 light controller.

The Alhambra’s prior Mica-based system had provided years of faithful service, but the step up to advanced Leo Family technology has been well received according to the Alhambra’s audio consultant, Thomas Legrand. “I would describe the Leopard system as offering greater accuracy and clarity,” notes Legrand. “As soon as you raise just a few dBs in any frequency band, you hear the difference immediately. It also gives us a greater dynamic range than our previous system.”

Fourteen Leopard and four 1100-LFC. For a small sized venue like the Alhambra, even the pickiest mixer won’t complain ;0)

The two main arrays of seven-each LEOPARD loudspeakers are supplemented by four UPJunior VariO loudspeakers, with two serving as front fill and two as under-balcony delays.
For powerful bass support, the system’s former subwoofer complement has been replaced by four new 1100-LFC low-frequency control units deployed as a horizontal array under the stage. “The new subs were the same pleasant surprise as the Leopards,” adds Legrand. “They are extremely precise. When pushing the bass frequencies in our mixes, the response stays tight and doesn’t ‘dribble’.”

Both the original Meyer Sound system and the recent upgrade were designed by Marc de Fouquières of Dushow Paris, the supplier of all sound, video and lighting systems for the venue. At the front end of the system, the Alhambra offers mixing engineers an Avid Profile V console, Shure wireless microphones, and a full complement of wired microphones from AKG, Audio-Technica, Sennheiser and Shure. Loudspeaker processing is provided by a Meyer Sound Galileo 616.

The stage seen from the mixer. Little stage but big sound !

Other information on le site Meyer Sound

Integrated Systems Events, the producers of the Integrated Systems Europe exhibition, has announced the start of an official cooperation with the VR Days Europe festival which takes place in Amsterdam on 25-27 October 2017. VR Days is a unique celebration of Virtual and Augmented content, creativity and production taking place in five different venues across the historic city.

Now in its third year, VR Days Europe 2017 – Where Realities Meet will be comprised of a mix of events featuring a compelling range of keynotes, sessions, workshops and seminars. VR Days 2016 drew over 3,000 attendees. Integrated Systems Events will provide content, marketing and organisational support for VR Days Europe. In return, VR Days Europe will produce a new VR Days event at ISE 2018, specifically targeted towards ISE exhibitors and attendees.
For Integrated Systems Events, the agreement with VR Days forms part of its strategic commitment to develop complementary, cutting-edge technology and business events to sit alongside the annual four-day Integrated Systems Europe exhibition. Integrated Systems Events also produces the DSS series of international conferences and the Smart Building Conference.

VR Days Europe Festival Director Benjamin de Wit commented: “Our mission is to unite the VR and AR communities, to inspire creative minds and to drive business forward. I am delighted that we are working with ISE as we complement one another perfectly. Together we are confident that we can develop the event and the brand. A number of the vertical market sectors we cover are extremely relevant for the AV market-place. There is the potential for a great deal of synergy.”
Integrated Systems Events Managing Director Mike Blackman commented: “The use of Augmented and Virtual Reality products and solutions is already playing a significant role in the AV business for both our exhibitors and attendees. There is much to learn and much to get excited about. It’s vital that ISE is able to provide a platform for companies and individuals that are keen to understand the current state-of the-art, what’s available today and what’s coming in the future. VR Days has an unrivalled position to help us deliver this and one that we are proud to be involved with and help to develop.”

Tickets for VR Days Europe are now available online, more detail on VR DAys website

Photo © mhvogel.de

What Philip David Charles “Phil” Collins has achieved in his life so far is definitely impressive: he is a singer, songwriter, instrumentalist, record producer and actor. He was the drummer and later the lead singer of iconic progressive rock band Genesis, and afterwards became a highly successful solo artist. After being absent from the stage for some years, Collins returned with his recent short but impressive “Not Dead Yet Live” tour which played London, Dublin, Cologne and Paris.

Photo © mhvogel.de

Patrick Woodroffe together with Roland Greil as the associate designer were responsible for the lighting design of this tour that Roland accompanied as programmer and lighting director using 2 x grandMA2 full-size, 1 x grandMA2 light and 5 x MA NPU (Network Processing Unit).
Greil, from Woodroffe Bassett Design, commented: “The grandMA2 system has been a trusty companion for many shows in the past and therefore we chose it once again. As expected it performed flawlessly and assisted us in creating a versatile, elegant and powerful design that provided the best possible canvas for such an outstanding artist and band.”

Photo © mhvogel.de

“The whole show was based on a very stylish and simple looking stage design by Misty Buckley with a dynamic lighting rig, LED screens which were part of the scenery plus a few scenic elements like an Austrian gauze, a silver curtain and a star cloth”, continued Greil.
“The range of looks involved in the production was diverse. Some songs were visually very theatrical, others were proper pop looks, and further down the set list, the show revealed some stronger classic rock’n’roll looks, plus some modern progressive looks.
So the whole show encapsulated numerous different moods with nice transitions between them. For two songs we also use a ‘ballet’ of lights comprising eleven lights individually rigged on hoists with RSC Lightlocks so they could move independently above the stage.”

Photo © mhvogel.de

Neg Earth Lights Ltd. supplied the lighting equipment. Patrick Woodroffe was the show director and lighting designer. Luke Radin was the LX crew chief, Misty Buckley created the set design, Treatment / Sam Pattinson designed and produced the video content, Ruary MacPhie was the video (camera) director, Joshua Key the media server operator, and Howard Hopkins the production manager, while Steve Pud Jones worked as tour manager.

Further information on MA Lighting website