When Jazz legend Al Di Meola played a sell-out gig at Darmstadt’s 1000-capacity Straatstheatre, Tonwerk’s Jan Weimann deployed a Uniline FOH system from APG, to meet the grade. For Weimann, using the Uniline with this artist was the only possible choice, “Al Di Meola is quite specific about loud stage environments.
The Uniline system has such a great directivity that there’s so little sound spill to the stage from the PA system. We also shielded the drums with acrylic glass at his request!”

Photo : ©Paul Sebald

The system was configured to provide high-clarity coverage for every seat with minimal backward spill. Comprised of left and right hangs of eight UL210 three-way line array modules per side, with bass support from three stacked UL115B subs, the system was driven by APG controllers. For Weimann, APG’s Uniline is his preferred system because, he says, it implements a “large stereo image, compared to other systems where you have a small stereo spot just in the middle of the room with “switching” either to one or the other side.”

Photo : ©Paul Sebald

Weimann has reinforced many artists playing the Straatstheatre with the versatile and modular Uniline system, and he pointed out, “it performs extraordinarily well with artists like Al Di Meola.”
He states the reason behind this as, “the isotop driver doesn’t colour the sound but replicates it honestly – and there’s no sharpness or any kind of “masking” as the music rises in intensity and volume.
“APG has quite a unique tonality. Compared with other systems, the APG sound reproduces a much larger spectrum of sound, which allows you to listen through the whole mix without losing any details.

“I often use the word “Durchhörbarkeit” to describe the APG sound, which could translate as being able to actually listen to the music, instead of just hearing it. To give you an example, I did a shootout last year with a number of speaker brands, and the Uniline system was the only one capable of identifying all five instruments of a horn section in an arrangement.”
Confident of his trust in APG and the Uniline system, Weimann takes the pressure of working with high calibre artists in his stride. “Al Di Meola is known for being a perfectionist when it comes to sound, so if you can rely on the material you are using, like the Uniline Series from APG, there is not much to go wrong.
“Al Di Meola uses his own FOH technician, Csaba Toth Bagi, who is also a very talented guitar player. For this show, I was responsible for the monitors and I used a TC M3000 dual engine reverb, because I particularly like the clarity and unobtrusive sound it provides”.

The launch of NEXO’s new GEO M10 sound reinforcement package has been enthusiastically received by audio rental companies in Europe, with Satis & Fy narrowly winning a good-natured race to become the first rental house customer in Germany to stock the new mid-size line array.
Global Director of Audio Services Martin Ramrath attended the ISE in Amsterdam to put in Satis & Fy’s order for a GEO M10 system, complete with MSub15 subbass cabinets and a comprehensive inventory of rigging accessories. This was a ‘satisfying’ moment for Ramrath, who has been involved with the M10 project since conception.

On the left, Reinhard Steger, Nexo’s Germany Sales Manager and on the right the Global Director of Audio Services Martin Ramrath.

“This is a true utility product,” says Ramrath, “the M10 can service so many different events and productions, this will be the workhorse system in any rental inventory. We are particularly pleased by the practical rigging features, such as the fact that there are no loose parts. And the flange fixing system, which makes it so easy to change the horizontal dispersion from 80°to 120°, is very practical design engineering.” Ramrath anticipates that the high-output system, featuring a 10” driver and an unprecedented ratio of LF response to cabinet size, will “mainly be used for our corporate events, especially suitable where there are after-show parties with a band.
With its ability to groundstack, it is great for shows where we are under time pressure on the load-in and load-out, for example, when we work at the airport; the M10 allows us to get a lot of PA into a venue at high speed.” The M10 takes its name from the single 10” neodymium LF driver, paired with a 1.4” HF titanium diaphragm HF driver. With a footprint of 531(W) x 288(H) x 355(D) mm, this 2-way passive module will deliver a frequency response of 59Hz-20kHz with nominal peak SPL of 131dB.

Satis & Fy’s initial order includes the two versions of the M10 cabinet, offering 12.5° and 25° of vertical dispersion. Both have 80°/120° horizontal dispersion which can be configured manually, without tools, by removing the magnetic grille and adjusting NEXO’s innovative flange fixing system.
The GEO M10 is partnered by a dedicated subbass cabinet, the MSub15. Weighing 36kg, the new sub is presented in a robust touring package with steel grille, or in an elegant installation version with cloth grille. It has large composite bumpers on each corner, and side handles. It flies with the M10 in an aesthetically pleasing and low profile array, operable in omni or cardioid mode, thanks to front and back connection plates.

More informations on :

• Satis & Fy Website
• Nexo Website

 

Two of the very latest MDG haze generators, the ATMe, recently joined up-and-coming British rock band, Catfish and the Bottlemen, playing medium to large arenas during a three-week tour of the UK in support of the band’s second studio album, The Ride.
The band, which formed in Llandudno, Wales in 2007, first had success with their debut album, The Balcony, which reached number 10 in the UK albums chart, since when they have toured the UK, Europe, North America and Australia. The release of The Ride in May 2016 saw the follow up tour visit Derby Arena, Bournemouth BIC, Victoria Warehouse Manchester, Plymouth Pavilions, Glasgow SECC, Wembley Arena and the Ricoh Stadium in Coventry.

Photo : © Alex Alevroyiannis

Newcastle-based Nitelites supplied the full lighting, audio and staging to the tour and hired the MDG ATMe haze generators from Impact Productions which purchased two of the models specifically for the tour. Nitelites, which has a special relationship with the band, having looked after them for the last three years, wanted to provide the best possible products for the tour, and Nitelites’ director, Jamie Moore, knowing he would need a reliable, high performance haze generator, naturally turned to MDG.

Moore said, “These guys trust us to come up with the goods for their tours that perform well during the show and are reliable and completely tour-durable. MDG produce the best hazers in the world and, from a rental company point of view, are worth every penny you pay for them”. MDG’s ATMe haze generators are renowned for producing the finest haze with the longest hang time from a unit that has added DMX control and extremely quiet noise levels. The ATMe has the lowest fluid consumption on the market and a well-earned reputation for being rock-solid on tour.

ATMe from MDG Fog Generators on Vimeo.

Lighting designer Scott Galloway was happy to use the MDG haze generators on the advice of Nitelite’s lighting crew chief Joe Dowling, declaring, “they worked great and I will be sure to spec them again.” Dowling’s recommendation was based on his previous experience with MDG Atmosphere haze generators on the UK touring production of Chicago. He commented, “the haze they produced for Chicago was perfect in every venue, so I knew the new ATMe machine would be a good option for the Catfish tour”.

The ATMe generators were located at stage level, upstage left and right, from where they performed perfectly. “Ironically, we ended up using them in stand-alone mode rather than taking advantage of their variable output and DMX control,” said Dowling. “We simply turned them on and left them to fill the room nicely on each show, with the aid of a couple of small DMX operated fans for the larger venues. We were able to just forget about them and the result was a perfect, even coverage of haze, which showed Scott’s lighting to perfection.”

Photo : © Alex Alevroyiannis

Dowling was also very impressed with the low fluid consumption of the ATMe units and the quietness of the operation. He said, “the consumption is really good, we took two bottles of fluid on tour but didn’t break into the second bottle. MDG has an automatic purge system so the maintenance requirements were minimal – just a clean of the fan and bodywork and they were ready to go back into their MDG flight cases and on to the next show. They travelled easily and started with no trouble each day.”

For more information on MDG’s ATMe hazer and other MDG atmosphere generators, visit MDG Website

ETC and Barco announced that they are in the midst of serious discussions wherein ETC would acquire High End Systems. While the timeline for the completion of this acquisition is still unknown, both parties are committed to moving forward with a successful transaction.

Wim Buyens, senior vice president of Barco’s Entertainment division, commented:
“For Barco, the divestment of its lighting activities is in line with its strategy to sharpen the focus on its core activities. We believe joining forces with ETC would enable High End Systems to realise its full business potential while providing ongoing support and opportunity development for its customers, and we appreciate ETC’s commitment to maintain High End’s operations in Austin and fully support the development of High End’s products.”

Fred Foster, ETC CEO commented today:
“ETC has been executing a strategy to grow our company. We want to offer our employees opportunities for greater success and continue to give our customers innovative products and services. We see adding HES to the ETC family as an opportunity for both of those things.
Our plan is to continue High End operations from their current location in Austin, TX. High End products like the Sola family of LED automated fixtures, Wholehog consoles, and Axon media servers are innovative tools for the live-events industry. Our intention is to make the investments needed in order to restore these products and the High End brand to market-leader status.”
Foster continues, “We place a high value in not only the High End products, but also the employees that will join our ETC family with the completion of this acquisition. Both companies have similar core values when it comes to innovation and I know working together will be a great success.”

More information will be announced in the coming weeks, once the acquisition reaches final stages.

Last year’s spectacularly successful Purpose World Tour made it crystal clear that pop icon Justin Bieber has hit his stride again. Blending passion with polish and featuring thought provoking hits like “Life Is Worth Living,” the 87-city North American and European tour finally put the teen idol Bieber to rest and introduced the world to a new more mature singer capable of reflecting life’s experiences, both good and bad, in his music.

On February 15, Bieber kicked off Year Two of his comeback tour with a sold-out concert at Monterrey, Mexico’s Estadio BBVA Bancomer arena. Accenting the star’s performance was a powerful and evocative Corey FitzGerald lightshow that featured 88 Chauvet Professional Maverick MK2 Wash fixtures, supplied by Serpro Producciones of Monterrey.

“We were very honored to have provided lights for this concert,” said Renato Betancourt, CEO of Serpro Producciones. “Recently, we made an investment in the Maverick MK2 Wash because we wanted a fixture that could deliver the output and colors that would be needed for major productions – and at the same time would be flexible enough to work well for a range of musical styles.”
With 12 40W Osram RGBW LEDs, the Maverick MK2 Wash met Betancourt’s criteria for output and color rendering, while its 7°-49° zoom range provided the flexibility to cover widely different areas on a stage. All of these features came into play at the Bieber concert, where the Maverick MK2 Wash was the principal fixture on the main stage truss, with added units also being arranged on the stage deck.

The Mavericks were used for backwashing performers, general stage washing and aerial washing at the Bieber concert. “It was exciting to see how the Mavericks performed,” said Edi Sosa, Lighting Manager at Serpro Producciones. “After Monterrey, the Justin Bieber tour is going to other countries in Latin America, Asia and Africa. We’re proud that the 2017 tour started here with our lights.”

More informations on Chauvet website

Kicking off with twenty dates in America at the start their Sorceress world tour, Swedish band Opeth brought their show to Europe in November, opting for a single show at Wembley Arena for their UK audience.
Magnus Boyd has been lighting Opeth for the last eighteen months: “During the tour,” he says, “we have done two special extended sets at Radio City and Belasco in LA, featuring songs from the Deliverance and Damnation albums before performing a third at Wembley Arena. The final extended set will be at the Sydney Opera House in February. These are impressive spaces that really deserve a large production.”

Boyd’s lighting and visual design featured 40 Ayrton DreamPanel™-Twin fixtures rented from S-Group, a French rental company. DreamPanel-Twin is a hybrid fixture, capable of full continuous pan and tilt, which presents a specialised MagicPanel™ with 8 x 8 RGBW 45-mm optic array on one side, and an 6-mm pitch RGB 64 x 64 pixel video display on the other. On the Sorceress tour, the 40 units are rigged in four double columns as a backdrop to the band and form a focal point of the lighting set.
“Myself and Petter Nilssen had a brainstorm and decided to use the Ayrton DreamPanel™-Twins,” says Boyd. “The DreamPanels were chosen to replace a relatively well used three-part video wall setup. Almost every song in the set includes their use but as they are so versatile, we were able to change looks continuously, starting out with content relating to the songs and progressing into more abstract material that would include fixture movement.
For the encore, all hell breaks loose with some beautiful abstract video, rotation and full use of the beam side of the DreamPanel-Twin. The content was created from a mix of video designers with Sorceress artwork by Travis Smith animated by Scott Rudd, abstract artwork created by Pekka Stokke at LJOS AS, and some content created by myself with footage from Jonas Åkerlund.”

High Wycombe based rental company, Siyan Limited, were chosen to deliver Boyd’s Wembley and European lighting requirements. Project manager, Tom Grant, comments: “I thought they were an impressive fixture with some very unique features,” concluded Grant, “…as you would expect from Ayrton! Magnus has used them very creatively and they are THE feature in his design.”
As we go to press, Opeth is currently engaged in a tour of Australasia, but will take their backdrop of DreamPanel-Twin fixtures with them on the forthcoming dates in South and North America from March, before concluding with dates at a number of European festivals in June.

More information on :

• Ayrton DreamPanel™-Twin fixtures and the full portfolio of Ayrton LED lighting at Ayrton website
• Siyan Limited can be contacted at Siyan website

Amadeus, based in France, one of the premiere manufacturers of high-end sound reinforcement systems and custom studio speakers, has announced the install of a massive speaker system, featuring the newly-released PMX 12 D self-powered active speakers, within a new multi-disciplinary institution, the Arts & Creative Technology Center (ACT), in Gwangju, South Korea.
ACT Center puts Gwangju, South Korea, at the forefront of global art, design, and culture dialogue. Launching with a major festival and exhibition in November 2015, ACT Center commenced a dynamic year-round program of activities that brought together leading Asian and international talents to share, collaborate, and inspire.

The ACT center building

One of the primary initiatives of the ACT Center is the ‘Arts & Technology Convergence Lab’ which disseminates cutting edge research and is a breeding ground for new work in media arts, interaction design, engineering, and digital fabrication. ACT Center will further continue to research, produce, exhibit and distribute innovative contents and artworks that demonstrate the creative use of emerging technology, cultural diversity and traditions of Asia. ACT Center is part of Asian Culture Center (ACC) that is one of the major cultural initiatives of the Korean Ministry of Culture, Sports and Tourism. Located on the site of the former provincial government building in Gwangju, ACC hosts several institutions and facilities that include the ACT Center, the Research Institute for Asian Culture, Library & Archive, Center for Children, multiple theaters, and exhibition halls, and the ‘May 18 Memorial’ event.

The multipurpose PMX12 D shaped to be used also as a wedge.

The Amadeus PMX 12 D speakers installed in the ACT Center feature built-in 24/96 DSP, and analog, AES3 and Dante inputs; a coaxial driver with a 12-inch woofer and a 2-inch tweeter with compression driver; and is bi-amplified using two dedicated high resonance digital amplifiers, featuring outstanding efficiency. The PPM-PWM fixed frequency class-D amplifiers are equipped with a switched mode power supply, delivering 1500W (LF) + 400W (HF).

Michel Deluc, Amadeus’ Director of Research & Development, says, “We were among the first manufacturers of electroacoustical equipment to look into audio transfers over Internet Protocol. We are committed to minimizing latency as well as unnecessary AD/DA conversions that impact signal quality. This started ten years ago, the year we wrapped up development of our first line of bi-amped coaxial systems featuring EtherSound I/O, which was designed for the French Institute for Research and Coordination Acoustic/Music (IRCAM). The technological gains offered by the Dante protocol and its widespread adoption by professionals led us to consider its implementation within our systems.”
Each speaker channel is under control by a 64-bit digital processing unit capable of a 118 dB dynamic range. Each of these on-board DSP units include a module dedicated to managing core system parameters including system EQ, time alignment between sections, limiting, and transducer thermal protection. This level of control makes the PMX D Series fully protected and able to operate at the full extent of its abilities. Given that digital-to-analog conversion should happen at the latest possible stage in an electro-acoustical speaker system, the PMX D Series also integrates two digital inputs/outputs conforming to the AES3 digital audio data transfer standard. These are coupled with a high resolution 24-bit/96kHz converters placed as close as possible to the electronic amplifiers, thus working in perfect combination with them.

Space 1, the main room, featuring the Amadeus actice and Dante enclosures and in the center, the Panasonic projectors.

Dongyup Kwak, A/V Consultant and CEO of ‘C2 Artechnolozy’ explained, “Before meeting the ACT Center President, I had no sound system installation ideas for this venue, ‘Space 1’ (called The Ground) was a really big area for Media Art Installation & Exhibition – the room is 70m by 30m with 18m ceilings. The President’s wish was to create a platform for artists, designers, engineers, and researchers to develop forward-thinking ideas, aiming for the ACT Center to become a multicultural interface that fosters knowledge and skill exchange between creatives in Asia and the rest of the world.”

The mapping on the ground of Space 1.

“We proposed a state-of-the-art audiovisual immersive ‘canvas’ containing among other things, an immersive giant screen, a 3D spatial sound environment, and a multi-layer video mapping system capable of showing the biggest installations,” continued Kwak.
“For immersive installations and exhibitions, we had to create an intelligent ceiling, equipped with chain motors, including audio, video and network connections. So, I designed a custom steel truss ceiling featuring 64 chain hoists and 64 digital cable reels, combined with CAT5E network cable reels with mercury wetted contacts. After many experiments, the Mercury wetted contacts were found to be quite stable solutions,” reveals Kwak.
Movecat’s PLUSlite 500 Series chain hoists were selected as rigging hoists by the ACT Center. C2 feel they are the first choice when it comes to the safe and reliable hoisting and positioning of trusses, stages, ground support structures and other devices used in media applications. All chain hoists are under control by the Movecat’s I-Motion Expert-T II System Controller, a high-end product for the systemic control of kinetic drives in larger and complex projects. Developed for applications with up to 240 drives, it allows the control and supervision of any application, in the field of rigging. “In Korea, we apply Europe’s D8 Plus regulations which require a double brake system, double gear box, and a 1:10 safety factor,” explains Kwak.

Space 1 during a performance.

For immersive video, C2 selected the 4x4Pro flagship media server from “d3 Technologies” able to drive up to four 4K outputs or 16 HD outputs, transfer content in minutes instead of hours, and switch video signal formats as the industry evolves. It is connected to twelve Panasonic PT-DZ21K projectors with unique built-in quad-lamp system, with new high-power UHM lamps, helping to make the body extremely compact while providing an astounding 20,000 lm*1 of brightness. The series is compatible with both passive and active 3D projection systems.

Graphic performance made thanks to the Panasonic projectors.

The Panasonic’s color rendition.

Dongyup Kwak adds, “For immersive audio, we selected a Sonic Emotion WAVE I 3D wave field synthesis rendering unit for processing of up to 32 input and up to 64 output channels.” Based on Huygens’ Principle (1678), the idea of Wave Field Synthesis (WFS) was developed in the Netherlands in the 1980s by the Delft University of Technology. WFS concept makes it possible to synthesize “sound holograms” by simulating acoustic waves produced by virtual sound sources.
To do this, the system uses a large number of loudspeakers, regularly spaced and used conjointly. They are each controlled with a delay and a gain to form a wave that emanates from the desired location of the virtual source. This process is repeated for each sound source in the sound scene. The major benefit of the WFS technique is to create a coherent sound field in an extensive area, therefore preserving the fidelity of the spatial image – the position of the sources – even for listeners located at the periphery of the zone or for listeners moving within the zone.
“The piece de resistance within this installation was the speaker system design. The requirements were practically unrealizable. The technical, networking and acoustical constraints pushed us to develop a new series of bi-powered and Dante-enabled point source loudspeakers, allowing remote control of each built-in DSP for an optimal adjustment to the acoustical properties of the listening space. The Amadeus ‘PMX D Series’ speaker was born from creating the sound system for this installation by enhancing our original PMX speaker design with these new technical capabilities,” states Gaetan Byk, Marketing Manger at Amadeus.
“Amadeus has been an excellent partner for the ACT Center,” offers Kwak.

The SSL’s Live 300

The sound system is completed with an SSL Live L300 digital mixing console. Philippe Guerinet, Director of International Sales for SSL and SSL France Manager, said, “There are several significant benefits that are key reasons to implement this network based routing solution. Audio over IP allows us to put the stage-boxes where needed, with minimal cabling, which in this complex exhibition hall setup is very important.
And it easily lets us connect all kinds of Dante-enabled gear: Amadeus PMX D (Dante-enabled) speaker systems, SSL L300 console, SSL Network I/O stage-boxes, and every other ancillary equipment needed. This network approach notably allows us to solve classic constraints, especially channel count, synchronization, redundancy, latency, and signal distribution without adding any traditional TDM solution.” “Last but not least, the technical solutions chosen by ACT ensure total flexibility and an astonishing audio quality, while surprisingly reducing overall cost and making expansion straightforward as well as cost-effective’,” added Guerinet.

The specially developed Amadeus PMX D Series features a refined Dante I/O section, an on-board 24/96 kHz DSP unit dedicated to managing core system parameters including system EQ, time alignment between sections, limiting, transducer thermal protection. “This studio-grade speaker system combined with the legendary sonic signature of SSL is a very good marriage, which makes listeners, attendees and artists very impressed,” concludes Dongyup Kwak.
In addition to legendary Amadeus reliability and sonic excellence, PMX D Series incorporates a newly refined Dante I/O section, offering options for full integration with leading third-party networking. Audio signals are selectable from one channel of analog, two channels of AES3 digital, and two dual redundant Dante networked digital inputs. Input signals are individually selectable for each channel.

The most powerful sub in Amadeus’s lineup, the ML28L, featuring 2×18’’

As the first company to include Audinate’s Dante technology in a high-end active coaxial speaker series, Amadeus joins 275 other manufacturers utilizing Dante, making it the industry-leading audio over IP networking solution with more than 675 Dante-enabled products now available worldwide. Each Dante Ethernet RJ-45 network input allow remote control of the PMX D’ processor for an optimal adjustment via dedicated software to the acoustical properties of the listening space. The software is an App that runs on Macintosh, Apple iPad and Windows computers.

A very well made video shows the ACT center, the contractors at work and some exclusive footage of its innovative contents.

ACC Creation – ACT Festival from ACT Center on Vimeo.

Plus d’infos on : website Sonic Emotion, website Solid State Logic and website Amadeus,

An established manufacturer of AOIP solutions for the broadcast market is seeking, through the recruitment agency Interfacio, an experienced channel sales person with a good knowledge of broadcast systems to manage and develop their international distribution channel sales.

Click on the image below to access :

Three colors for the same new enclosure

L-Acoustics announces the launch of Syva, a new format, high power speaker system which features six medium-frequency and three high-frequency speakers in a sleek J-shaped progressive curvature format.
The groundbreaking transducer arrangement called segment source* (*patent pending) produces an H/V 140° x 26° (+5/-21°) directivity pattern that is optimized for exceptional surface coverage and 35 meters of throw.
Syva is an outstanding choice for corporate events, fashion and trade shows, as well as for sound reinforcement in amphitheaters and performing arts centers. The modern, sleek design will make it an attractive option for houses of worship as well as intimate settings such as home cinemas or lounge bars.

Syva showing his J shape offering an exclusive directivity pattern of H/V 140° x 26° and a 35 meters of throw.

Syva can be accompanied by the Syva Low high power subwoofer or Syva Sub infra extension to achieve a 142 dB max SPL. Its companion Syva Low enclosure features two K2-grade 12” drivers designed to provide low frequency contour and extended bandwidth down to 40 Hz. Similarly Syva Sub features one KS28-grade 12” driver, to further extend the bandwidth of the system in the infrasound domain down to 27 Hz. One LA4X amplified controller can drive up to four Syva enclosures.

Syva laying on top of Syva Low, the high power sub, and at the right of the image Syva Sub in charge of the infrasound domain.

Syva can be wall- or pole-mounted, as well as flown, or used alone with its baseplate. Alternatively, Syva can be rapidly mounted on top of Syva Low or Syva Sub using the AutoConnect plug-and-play audio and physical link. A RAL color program allows Syva to melt into any architecture.
“The introduction of Syva is a landmark for L-Acoustics,” says Stéphane Ecalle, director of marketing at L-Acoustics. “Syva is a new breed of sound system combining the benefits of line source technology with a plug-and-play approach, in a sleek design, tailor-made for places where elegance and discretion are paramount.”

The Syva system will be on display at the L-Acoustics booth #7-X220 at ISE in Amsterdam from February 7th through 10th and first orders are expected to be shipped in early June 2017.

A musical masterpiece returned to the stage at the Teatro Manzoni in Milan. The moving scenery designed by Cristiano Colombi dynamically creates the various different settings.
All of them recall the Upper West Side of New York, where the story is set, and Claypaky’s light beams shine out.
Federico Bellone was asked to direct the show: “To set the scene, I decided to focus on two elements: the theme of fear, a feeling shared by all the characters in the two rival groups, the Jets and the Puerto Rican Sharks, and red, the colour that has become a trademark of the musical, along with the five iron fire escape staircases which link the various levels of the scenery.” The work of the creative staff involved in producing the musical was focused on these pieces of scenery.

Valerio Tiberi was asked to design the show lighting.

Did the presence of the fire escape staircases and their movements on stage make the lighting design very difficult? There are shadows everywhere.
Valerio Tiberi: “Yes. So I decided to use them. At different times during the show, there are scenes with shadows projected onto the backdrop. In the last scene, one of the most emotionally difficult moments in the show, we decided to turn off the video projection, as it seemed too invasive, too beautiful and too well defined. At that moment, I was able to project the long shadow of the towers onto the black backcloth.”

Did you achieve the lighting you were hoping for?
Valerio Tiberi:”I am happy with the overall set-up I gave the lighting design. I preferred to use incandescent lamps and especially side-lighting in the wings. I pointed the whole sequence of lights in various directions with various incident angles, from the ground up to 13 feet up, along the side towers, or vertical trusses. There are 8 in total: a sequence of two beam shapers, a B.Eye K10, 4 PAR lamps, another 2 beam shapers, an Alpha Profile 700, and lastly another B.Eye K10 on the top of the truss.”

Is there any room in the wings at the Teatro Manzoni?
Valerio Tiberi: “Not a lot, but we placed upright trusses on the right and left of the stage without any problems, in compliance with the distances needed by the moving heads and for the entrances and exits of the actors, dance troupe and props.

Did you need compact lighting fixtures?
Valerio Tiberi:  “I managed to install exactly the number of lights I had envisaged in my design. The body of an Alpha Profile 700 is incredibly compact (head length = 455 mm / 18 inches). It is about as big as a theatrical PAR lamp.
I wanted to pursue my initial idea of communicating through side lighting, which is a useful tool for loading a scene with dramatic tension, like during the clashes between the two opposing gangs, I put very few lights in the overhead rig. Their colour, where they come from, and their angles – mostly on the proscenium and further down the stage – help recount the story through the direction of the light. I used lights that could fill the scene, like the B.Eye K10s: basically lights that could back-light at least three levels, the whole floor and the stage.”

How did you deploy the B-Eye K10s in your lighting design?
Valerio Tiberi: “I arranged them symmetrically. Four on the first batten, four on the second, four on the third, and only two B.Eye K10s on the fourth batten. There are also other beam shapers on the overhead rig: a total of six, two on the first batten, two on the second and another two on the fourth.
They work as special lighting units during Tony’s first meeting with Maria, during the dance scene that follows, when all the couples are on stage, when they project windows inside the bridal shop, on the bed in Maria’s room, and when they light the grocery store from the side.” The lighting programmer used a GrandMa2 light desk.
Marco Moccia’s Leader Sound provided both the sound and lighting systems, and – above all – Marco helped reproduce everything that was part of the original design.”

More informations on ClayPaky website