Versatile Clay Paky Mythos Fixtures Shine on Fall Out Boy Summer Tour

Fall Out Boy just wrapped “The Boys of Zummer Tour” (sic) co-headlining with Wiz Khalifa, and once again Clay Paky fixtures were along for the exciting cross-country ride.
Robb Jibson of So Midwest, Inc. continued his relationship with the pop punk band, this time as production designer for the US amphitheater tour. He specified 68 Mythos sold by Upstaging.

© Photo Jack Edinger

© Photo Jack Edinger

“ I’m a fan of Clay Paky; they seem to really do things right, ” he declares. “ I had demo’d Mythos but hadn’t had a chance to use them just yet. The light is versatile enough I knew if we spec’d them we wouldn’t need much else – no typical systems of wash, hard edge or effects systems. I put all my chips on Mythos as our only hard-edged fixture in the show! And they were as awesome! ”

© Photo Jack Edinger

© Photo Jack Edinger

It was Jibson’s goal to design a well-balanced show where the “lighting and video played well together. ” He wanted to present the video content in an innovative way and eliminate side IMAG screens, which Fall Out Boy dislikes. The band also wants to enter the stage without being seen, and Jibson was challenged to create a fun reveal.

“ I came up with a guillotine, an LED wall on winches that was 60 feet wide and 12 feet tall, ” he explains. “ It acted like a grand drape would work in a theater and moved up and down to reveal every act. After a short intro sequence Fall Out Boy appeared in a blast of smoke the screen flew up! ” Since Mythos fixtures are still so new to the market most of the lighting teams he met at the venues did not have firsthand experience with their versatile capabilities. And using them as followspots? Crazy !
“ The first time George Masek had showed me the prototype Super Sharpy I knew that I had found the next iteration of the automated key light, which we had done with sharpies for smaller gigs. So it was just a natural for the Mythos! I had to fight to use them as follow spots, to rope our fixtures into the spot locations, ” says Jibson.
“ I shoved the house spots out of the way so I could clamp Mythos to the hand rail, set them on road cases or put them on stands; two more were flown from the side trusses to cover the drummer position. Upstaging modified the fixtures to add metal handles on front. ”

© Photo Jack Edinger

© Photo Jack Edinger

“ People at the venues were pretty nervous about how a 470-watt fixture could replace a house spotlight. My Response ‘watch.’ Venue by venue we won them over.
We routinely did 120-, 150-, 180-foot throws for key lighting and gobo patterns using a combination of the zoom optics and aperture gobos.
Even at the farthest point – 200 feet away from the stage – we delivered never less than 150 foot-candles. A traditional spot would deliver about 90, and that’s if Jimmy had changed the bulb in the last decade! ”

Jibson flew the remaining 60 Mythos overhead where they supplied key lighting and all the effects lighting. “ Using the frost filter is great for punchy wash looks. They already have all the goodness that Sharpys have built in for aerial effects, and their unique color mixing system was really snappy. The lensing system is like a prime photographic lens with infinity focus. That made the show look really clean, and that’s what we wanted: clean lines and clean content. ”

Throughout the tour, which ran from June through August, “ Mythos exceeded my wildest imaginings, ” Jibson reports. “ I was super-happy with their reliability, footprint and output. I love ‘em! ”

© Photo Jack Edinger

© Photo Jack Edinger

George Masek, A.C.T Vice President (exclusive distributor of Clay Paky products in North America), concludes, “ It is such a pleasure working with Robb. You can never be sure what he is going to come up with, and that is the beauty and genius of his work. He pushes the Clay Paky fixtures to their limits and gets results that are exceptional. ”
Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “ Mr. Jibson is a very innovative lighting designer and we love to see the ways he uses our fixtures. We look forward to seeing his work for many projects to come. ”

More informations :

 

Along the Copa América

Clay Paky Mythos illuminate Latin America’s tallest skyscraper

Clay Paky Mythos fixtures have illuminated the Costanera Tower, the highest skyscraper in Latin America, with a fantastic light show to celebrate each match in the Copa América 2015 football tournament.
Mythos were part of a lighting design by Toni Amoros,who also lit the tournament’s opening ceremony. Each time a player scored Amoros employed the Mythos to wash the building with the team’s colours and a variety of textures, surprising and delighting onlookers.

Mythos Copa America

Photo ©-Valook

Photo ©-Valook

Photo ©-Valook

The fixtures also projected custom gobos such as the word ‘GOOOL’ (GOAAAL), supplied by Iluminación Profesional Valook, up the entire 300-metre length of the tower.
“ The Mythos was the perfect tool for this ambitious project,” says Fabian Cortez Lopez of VALOOK. “ Its incredible optics meant it could illuminate the whole building with ease.

The custom gobos were projected from the ground floor to the very top of the building, remaining in clear focus even at the furthest distance. This is a feat only the Mythos can achieve! ”

The gobos also saw the Mythos project spinning footballs and Copa América sponsor Mastercard’s logo onto the building as teams such as Paraguay and Brazil and Peru and Bolivia battled it out on the pitch.

The skyscraper is part of the Costanera Centre in the capital’s Providencia business district. The 24 Mythos, supplied by event production house Producciones Icardi, were positioned with six on each side of the building throughout the tournament.


Photo ©-Valook

Photo ©-Valook

From here the fixtures also delivered a vibrant light show on weekday mornings and evenings to entertain commuters and visitors to the area.
“ The power output of the Mythos is fantastic, it can easily replace a 4k searchlight, ” continues Cortez. “ There’s no other fixture like it – you can use it in on smaller stages, stadiums or for an architectural project such as this without compromising its performance. ”


More informations : http://www.claypaky.it

 

For the second Video Days

GLP Impressions Boost Giant Matrix for 15,000 YouTubers

Leading lighting designer Björn Hermann has called on GLP impression X4 S and X4 L to help boost a giant matrix at the Lanxess Arena in Cologne for the second Video Days.
This was another opportunity for 15,000 YouTube fans to see the stars of this genre not only on a canvas, but also live on stage at the massive Lanxess Arena.

Crédit Photo: Detlev Klockow (PRG)

Crédit Photo: Detlev Klockow (PRG)

Hermann was not only responsible for the lighting design and studio colour space, but also provided the set and stage design for Tobias Kühnel and his company, Showplan GmbH. The particular challenge was that with just a single day set up, the complete show and camera lighting had to be set up for all 25 bands, fully programmed and implemented.

Crédit Photo: Detlev Klockow (PRG)

Crédit Photo: Detlev Klockow (PRG)

The lighting designer decided to solve this challenge by selecting GLP’s new impression X4 S; 50 of these compact and flexible moving heads, each containing 7 x 15W RGBW LEDs and a 7°-50° zoom range, found their place onto the set — with the lighting inventory supplied by PRG.

The key elements of the show were two faces comprising a total of 50 white plates, set right and left of a giant matrix LED wall. Integrated respectively in the small spaces in between, Hermann and his team placed the 50 compact X4 S heads.

Another 15 of the larger impression X4 L were also deployed and provided enormous brightness, rich colours, fast response and pixel mapping for an impressive light show.
The initiative began five years ago with a spontaneous idea — for around 500 fans from the YouTube community to meet at the Gamescom trade fair in Cologne to celebrate their network’s stars. It was a complete success, because in the following year more than 2,000 broadcasters met. The result was the first Video Days.

Crédit Photo: Detlev Klockow (PRG)

Crédit Photo: Detlev Klockow (PRG)

The appearance of network stars including like Y-Titty, ApeCrime, Daaruum, LeFloid ensured that for the second year running the Arena would be sold out in a raucous and thrilling spectacle for the millions using the network.

More information www.glp.de

 

At Plasa London 2015

Robert Juliat Celebrates PLASA Award for Innovation for DALIS

Projecteur cycliode à leds Robert Juliat DALIS – PLASA Award for Innovation 2015.

Projecteur cycliode à leds Robert Juliat DALIS – PLASA Award for Innovation 2015.

Robert Juliat is delighted that its new LED cyclorama batten, DALIS, has been awarded the PLASA Award for Innovation at PLASA London 2015.

DALIS is a unique, asymmetrical 300W LED cyclorama light, consisting of 48 LED sources arranged in a double row.

Each LED works in conjunction with a mini asymmetric reflector, or ‘spoon’, to deliver a perfectly smooth spread of light across any surface.
Eight colours of LED are used in DALIS’ construction – red, green, blue, royal blue, amber, cyan, warm white (2200K) and cool white (6500K) – which mix to create a huge variety of pastel and saturated colours, with perfect balance.
Silent, fanless operation makes DALIS ideal for both theatre and television use.

L’équipe Robert Juliat rassemblée autour de la récompense PLASA Award for Innovation reçue pour DALIS, sur le stand Ambersphere Solutions, distributeur exclusif pour le Royaume-Uni.

L’équipe Robert Juliat rassemblée autour de la récompense PLASA Award for Innovation reçue pour DALIS, sur le stand Ambersphere Solutions, distributeur exclusif pour le Royaume-Uni.

The panel of PLASA Award for Innovation judges said: “ The colour rendering from this product is beautiful. The fixture is well designed and elegant with a very good uniform beam pattern and will no doubt be a feature of many stages in the future. ”

Francois Juliat, Robert Juliat’s CEO, was extremely happy to receive the Innovation Award on behalf of the company at the presentation ceremony during the show : “ To receive this Award from the PLASA organisation is very gratifying, ” he says.
“ Robert Juliat is well known for its high quality lighting solutions using traditional light sources such as tungsten and HMI, but we have been developing LED products for a number of years with equal success.

DALIS is the latest in our LED range and we are proud to bring it to the market. This Award for Innovation is a recognition of Robert Juliat’s capacity to innovate using new technology, whilst maintaining the high quality of our products and services that our customers expect. ”

More information at www.robertjuliat.com

 

ETC mourns Bullen Lagerbielke

Bullen Lagerbielke

ETC is morning the loss of Pontus “Bullen” Lagerbielke, who passed away following a battle against cancer. A professional lighting designer, console programmer and media server wizard, he truly loved working in this industry.

He was an extremely valued member of the ETC Cobalt development team, and was also involved in the development of Congo.

Sarah Clausen, who was a close personal friend as well as colleague, says: “ Bullen has been an incredibly valuable contributor to the development of ETC lighting control products. He brought real-world production experience to the table every time we discussed the further development of both families, and through his wisdom affected every Congo and Cobalt user’s experience in a positive way.

“ He was well known as a teacher and as a support resource for all users in Sweden. Bullen was a pioneer among European lighting designers in embracing moving lights and media server technology for large music productions.
His knowledge and experience are thought by his colleagues to stem from an abundance of creativity and patience, insatiable curiosity and a will to cross technical and artistic boundaries, not least in his grim and purposeful sense of humour.

“ He is fondly remembered for his pragmatic approach and will to fearlessly bring beta software on tour to test its limits. He will be remembered for his passion for the art of lighting and high professionalism as much as his humour, great personality and friendship. ”

He will be sorely missed.

 

October’s Very Own Delivers With Adamson

More than 35,000 people descended upon the Molson Canadian Amphitheatre in Toronto, Canada recently to experience the 2015 OVO (October’s Very Own).
Fest headquartered in Highland Heights, Ohio, was on hand to deploy an Adamson sound reinforcement system for the event.

The three-day music event headlined Kevin Hart, J. Cole, Big Sean, YG + Jeremih and Drake with guest performances from Future, Pharrell Williams, UK’s MC Skepta, Kanye West, and Krept & Konan. OVO Fest is one of the largest hip-hop festivals in Canada.

Adamson OVO stage2

The main PA consisted of left-right hangs made up of 18 Adamson E15 and three Adamson E12 line array enclosures, with sidefill arrays made up of 12 E15 and three E12 enclosures. Two subwoofer arrays – eight Adamson E119s each – were hung next to the main PA. Another 24 E119 were stacked 2×6 per side to deliver Drake’s signature low end.

Eighteen E15 and E12 line arrays encloures along with E119 subwoofers blanketed the audience at the Molson Canadian Amphitheatre.

“ The high end of this PA is one of the clearest, and smoothest I have ever heard – not harsh at all and extremely consistent, ” explains Demetrius Moore, FOH engineer for Drake.
“ The low end is huge with a smooth range, great for my hip-hop 808s and my R&B kick drum. ”

The Molson Canadian Amphitheatre is a bowl-shaped outdoor shed with a seating capacity of 16,000 – 5,500 reserved seats under the 60-foot high covered roof, 3,500 seats under the open sky and another 7,000 seats on the grass bowl. In order to ensure pristine coverage, Eighth Day Sound utilized Adamson’s Blueprint AV software to design the system.  “ The PA was solid – we didn’t need delays at all,” adds Moore. “The sound was clean with a consistent SPL throughout the venue and it was plenty loud. ”

The OVO Fest PA was powered by racks of Lab.gruppen PLM 20K44 amplifiers which combine a true 4-in, 4-out configuration with a new Lake core module, Dante networked signal distribution, and system control and monitoring. The amplifiers were rack mounted and located stage left during the event.

More informations www.adamsonsystems.com

 

Ariana Grande, Toby Francis, DiGiCo : Still On Her Honeymoon

Veteran front-of-house engineer Toby Francis, whose extensive résumé ranges from Aerosmith to ZZ Top, is currently out on an 88-date tour with pop princess Ariana Grande and a DiGiCo SD7 digital mixing console.
“ The Honeymoon Tour, ” which takes in North America, Europe and Asia before wrapping up in South America at the end of October, also includes an SD7 at the monitor position, helmed by engineer Justin Hoffmann.

Francis, who is approaching his eighth year of using DiGiCo consoles almost exclusively, comments, “ It’s very, very easy to mix music on this console and it works in a very straightforward manner. It’s got everything you’d ever need onboard. For the last two years I’ve been using a Waves SoundGrid server, but prior to that I didn’t—I just used the console and nothing else. ”

Toby Francis en plein mix du show d’Ariana Grande au Madison Square Garden de New York. © Carlos Escobar

Toby Francis en plein mix du show d’Ariana Grande au Madison Square Garden de New York. © Carlos Escobar

Although he typically favors DiGiCo’s SD10 desk, Francis switched to the SD7—supplied by VER Tour Sound—for “The Honeymoon Tour” in order to better accommodate the show’s 90-input channel count. “ It’s a blend of track and live inputs, with the emphasis on live inputs, ” he says, including multiple keyboards, guitar, bass, drums and a small string section. “ The only thing that is obviously track is her background vocals. She did all of the backgrounds on the record, so the only way to make it sound right was to continue that. ”

The SD7’s snapshot capabilities are proving to be invaluable on this tour : “ It’s pop, so the levels are pretty drastically different from song to song. On a lot of the songs there’s an intro section, then into the regular song, so I use at least one snapshot to set up each song. A couple of the songs have more than one, ” he says.
The DiGiCo’s multiband dynamic equalizers and compressors are also essential to his mix, says Francis, who groups drums, bass, keyboards and other instruments separately. “I take all of those groups into yet another group of all the music and create a separate path that’s all of the vocals. I treat the two paths completely separately, then I combine them into the Meyer Sound LEO/LYON PA system.”

He continues, “ I use a lot of layers of compression. I use the Waves C6 on Ari’s vocal, then go into a group with the onboard three-band compressor and take her vocal and the background vocals and compress them together there. It sounds so polished. My daughter came to a recent show and I put her in the front row. She was showing me videos she had made and the sound was crystal clear. ”

Toby Francis l’ingé son façade devant l’une des deux consoles DiGiCo SD7 de la tournée. © Carlos Escobar

Toby Francis l’ingé son façade devant l’une des deux consoles DiGiCo SD7 de la tournée. © Carlos Escobar

The onboard processing is key to the sound quality of the DiGiCo desk, he believes. “ I use the multiband dynamic EQs everywhere. Instead of doing drastic low-mid cuts I’ll just use compression. The information is still there, it’s just compressed so that it fits better. There’s a lot less contouring and a lot thicker sound.
I think that’s why you hear things on the DiGiCo that you don’t hear on some of the other desks. There’s just more there. ”

Francis and Hoffmann share one large rack. “ We call it our ‘execution rack.’ It has two DiGiCo SD-Racks, a MADI converter and word clock distribution to all of the external digital devices,” Francis elaborates. “It’s also got all of the wireless receivers and ear transmitters, all hardwired. The stage rolls at about two o’clock, the monitor console rolls under the stage and the rack rolls in. The cabling is pre-laid when they build the stage so we’re literally checking things ten minutes after the stage rolls. ”
Tracks from two Pro Tools computers pass via Antelope Audio interfaces into a D.O.TEC MADI.SRC switcher that selects machine A or B and sends it to an Optocore converter. “That shows up like a stage rack,” explains Francis. “ Of everything we tried, that was sonically the best way to do it, and it gave both front-of-house and monitors the most versatility. ”

The system also enables timecode distribution for the show’s video, lighting and laser automation.
He adds, “ We don’t use a splitter, which is a huge sonic advantage. By eliminating a splitter you keep your impedances as pure as possible. By having the SD-Rack at the stage you cut your copper link to 100 feet or less on every input. Then the sonic advantage of the console really itself takes it to a whole new level. ”

For a list of Ariana Grande’s upcoming tour dates, visit www.arianagrande.com
And VER Tour Sound can likewise be found online at www.verrents.com

 

Martin VDO Sceptrons Frame the Stage for Mumford & Sons’ World Tour

Since forming in 2007, British band Mumford & Sons has toured the world almost non-stop. Now setting out again to showcase their third album, the band’s Lighting and Production Designer, Ed Warren, selected Martin VDO Sceptron 10s and MAC Quantum Washes to make their live show even more immersive and experiential.

VDO Sceptron de Martin et Mumford & Sons

Credit Photo : Ty Johnson

Warren developed a captivating new design specifically for the new album, Wilder Mind. He immersed himself in Mumford & Sons’ music until it resonated in his mind–he even played the band’s music while sleeping. “ Designing is a very fluid process for me. I don’t force it, ” says Warren. “ When I’ve visualized my first thoughts and I feel like I’m in the right zone, the concept starts to take shape. ”

In the initial stages, Warren presented his ideas to the band using mood boards. They liked it and when finalized, he submitted his design to UK rental company NEG Earth, along with a product specification list. After reviewing Warren’s list, Caroline Beverley, Project Manager, NEG Earth, suggested using the new VDO Sceptrons from Martin Professional as an alternative to the fixtures specified.
Beverley said they would be perfect for Warren’s design, and when Warren saw them he was easily persuaded.

“ The VDO Sceptrons were perfect for what we wanted to do,” says Warren. “As some of the concerts happen during daylight, I needed fixtures with a good color output and brightness. The Sceptrons do just that–even in bright sunshine. ” The VDO Sceptrons play a leading role in the design where they frame the stage and trusses. The fixtures are mounted onto the downstage edges and the two risers, and along the vertical lines of ten towers upstage.
Side trusses and three U-shaped trusses above the band are also lined with VDO Sceptrons, adding a futuristic look to the show. Although capable of displaying video content, Warren uses the VDO Sceptrons in simple RGB mode on four channels. Warren believes in creating an experience for an audience. he wants to immerse the audience in every show he produces and make every fan feel at one with the band and the performance.

VDO Sceptron de Martin et Mumford & Sons

Credit Photo : Ty Johnson

“ The art of lighting design is to support and reflect what the band is trying to evoke with their music without distracting from it, ” says Warren.
“ You want to complement the music and stir the audience as much as possible, but you need to respect that people have come to see the band­–not necessarily the light or laser show. ”

The VDO Sceptrons support Warren’s approach to lighting design as they add both depth and dimensionality to the stage. This way, the stage jumps out spatially and is not just a flat object at one end of the venue.

Also on tour with Warren and Mumford & Sons are 16 MAC Quantum Washes that Warren uses to backlight the band and the stage and light through the open risers. “ They’re great lights,” says Warren. “Just like the Sceptrons they perform very well and stand up against daylight with great colors. ”

Mumford & Sons will be touring until the end of 2016.

Credits
Lighting Design: Ed Warren
Rental company: NEG Earth
Chief Electrician: Adam ‘Moonunit’ Morris
Production Manager: Steve Gordon

Martin Equipment : VDO Sceptron 10, 159 pcs and MAC Quantum Wash, 16 pcs

For more information
Mumford & Sons, please visit : http://www.mumfordandsons.com/
NEG Earth, please visit : http://www.negearth.com/
Martin Professional : www.martin.com

On Maroon 5 V world tour

Roy Bennett uses 210 Ayrton MagicBlade™-R in his Lighting Design

Two hundred and ten Ayrton MagicBlade™-R fixtures form the dramatic backbone of Roy Bennett’s lighting design for Maroon 5’s year-long World Tour 2015 in support of V, the band’s fifth studio album.
Bennett, of Seven Design Works, has used the MagicBlade™-R units to delineate thirteen jointed truss ‘arms’, which are suspended in a ‘V’ shape above the stage to form a pivotal feature of the stage design. The MagicBlade-R fixtures are rigged in double rows along the arms, which split along the centre line and move independently on a series of separate wire winches to shape and sculpt the stage from above.

© 2015 Todd Kaplan

© 2015 Todd Kaplan

” I didn’t know the band well but knew their music. I wanted to give them something very different from the video-heavy designs of their past tours – and create something that I haven’t done before!” says Bennett. “ I like transparency, reflection and mirrors right now so I created a ‘fishbowl’ from a transparent stage and other elements based on the album artwork’s V symbol. ”

Bennett devised a set composed of an under-lit PLEXIGLAS stage, an upstage wall of stepped, PLEXIGLAS panels which can be filled with smoke, and a ceiling of moveable arms etched out by the MagicBlade-R fixtures. “ This gives the stage a volumetric feel below the band as if they are standing on another world, a backdrop that can be back-projected onto and a ceiling that I can use to change the look, feel, and shape of the stage throughout the show. My intention was to create a modern, clean look that was flexible enough to give multiple looks within the personality of the design, ” he explains.

Bennett uses the MagicBlade-R fixtures both as sources of illumination and as tools to construct sculptural, architectural effects. “I’m able use the MagicBlades to accentuate the image of the ‘V’ and create a forced perspective in both horizontal and vertical planes. I can gear everything to an apex – in the air, on the ground and upstage – and use them as a mirror image of each other. At one point I even bring them in low and flat to compress the stage and top light the band.
“ Occasionally we run content through the MagicBlades along with the other lighting elements on stage but most of it is pre-programmed to take advantage of the MagicBlades’ flexibility. There’s a great flexibility in what you can do with Ayrton lights because of the individually addressable LED emitters which add great simulation and texture. ”

© 2015 Todd Kaplan

© 2015 Todd Kaplan

Jason Baeri, Bennett’s lighting programmer for the V tour, agrees : “ It’s not just the flat beams of light that make the MagicBlades so unique, but the appearance of the face of fixture which we can use to construct scenic looks. We can create defined spaces, like the outline of a triangle, then completely transform the look for the next song in an instant.
We use the continuous pan and tilt, for example, to animate the effects and make dynamic use of the space: to see 40-foot wings of light descend over the audience with the MagicBlades spinning over their heads is incredible and truly unique! I couldn’t have foreseen the kind of effects we have been able to create with the MagicBlades in Roy’s design. ”

Ayrton’s MagicBlade-R is immediately identifiable as having seven 4.5° 15W RGBW LED emitters arranged inline, each of which can be individually controlled for greater design possibilities. “ We didn’t make use of MagicBlade’s on-board macros because everything we did was engineered to create specific architectural space, ” says Baeri. “ But programming them is as easy or as complex as you want it to be. You can get some amazing looks with the ‘blade’ effect alone, which is very easy to do.
But neither is it difficult to program the individual emitters independently. We did this using an MA2 console and, for the very intricate stuff, we used a Hippotizer media server to pixel-map complex shapes and direct video. ”
“ Everything the MagicBlades are capable of doing, I have them doing on this show, ” says Bennett. “ I love to work that way – I put lights through their paces and push them to the max. I like to find out where their breaking point is…and the stop just short of it! ”
“ There’s no doubt about the durability of the MagicBlades, ” confirms Baeri. “I’ve seen these and other Ayrton fixtures really take a beating on tour and not even flinch!”

Ayrton MagicBlade-R Tournée Maron 5

© 2015 Todd Kaplan

Bennett, who first used Ayrton’s MagicBlade-R for the Japanese stadium tour of Big Bang Korea (the world’s biggest K-Pop band), was among the first lighting designers in the USA to use Ayrton’s award-winning MagicPanel™602. His design for Nine Inch Nails’ 2013 Tension tour employed 126 MagicPanel 602 fixtures, arranged in 3 x 3 ‘pods’ above the band. Now, for Maroon 5’s V tour, he has utilized another massive quantity of Ayrton lights with the overhead matrix of 210 MagicBlade™-R units. Bennett’s love for large numbers of Ayrton fixtures is obvious.

“ Ayrton fixtures always work well in a mass, ” he laughs. “ I absolutely love Ayrton and am really impressed with their products. They are good, rock solid, bright and very dependable. They are not as ‘mechanical’ as some moving lights and they give you great flexibility in what you can do. Ayrton products bring something very unique to the market and they always come up with new tools. ”
“ The level of support we get from Morpheus Lights in the US is unparalleled, ” concludes Baeri. “ They are available to us 24-hours a day and, through them, we are in direct contact with Ayrton’s product designers who truly listen to our feedback about what we want their products to do in future. ”

Maroon 5’s V tour commenced in Dallas on February 16 and concludes in Denver on December 31, by which time the tour will have crossed America, Europe, the Far East and Australasia. The lighting equipment is supplied by Upstaging, Inc. in the US and Neg Earth in Europe.
More information on Ayrton MagicBlade-R and the full Radical™ Series of fixtures can be found at www.ayrton.eu

About Ayrton:
AYRTON is specialized in developing intelligent LED light products for Entertainment and Architectural applications. Based south of Paris, France, the AYRTON Headquarters and Research & Development centre combine and organize the highest competence in engineering, software, electronics and optics, with the aim to create highly innovative fixtures.
AYRTON fixtures are created to answer any demanding installation and criteria, and are distributed through devoted and exclusive worldwide teams. AYRTON uses reliable, flexible and avant-garde technologies linked to innovative design, to provide AYRTON customers with a wide range of pioneer lighting solutions for installation in Stages, TV Studios, Show-venues and Architectural schemes.

 

Werchter chose DiGiCo as FOH and Monitors consoles

Back in the glam rock-ness of the 1970s, a small village in the middle of Belgium called Werchter decided to put on a one-day music festival. Over four decades on, Rock Wercher has become one of the largest events in the country’s musical calendar. This year, it took a new direction, in terms of mixing console choice, with Head of Sound Patrick Demoustier making the decision for the house system to go completely digital. DiGiCo was his console of choice.

This was a milestone for the festival and Patrick Demoustier explains the reasoning behind making such a fundamental change. “ We had talked a lot about moving Rock Werchter’s house system from analogue to digital consoles and how we were going to do it, ” he says. “ We didn’t want to take any risks; if it went wrong and the experience was bad, our reputation would be bad too.

Patrick Demoustier, Sound Engineer and Werchter’s Head of Sound, posing in front of the main stage most likely powered by Adamson and behind one of the in house SD7.

“ We decided we could only do it using DiGiCo consoles because DiGiCo’s architecture is very straightforward, even for those who don’t already know the products. In the analogue world, everyone was so familiar with one particular brand of console that it was easy, but in the digital world there are many different brands and different systems, mostly with session files that aren’t compatible.

But if you know how to use an analogue console you can pretty much mix on a DiGiCo straight away. I believe they are the only consoles on which that you can learn that fast. Also, all our engineers are very familiar with them and that’s important; if you have someone sitting next to you that really knows the console it makes life much easier and gives confidence to the visiting engineers. ”

As a result, Production supplier for the festival, PRG, supplied a combination of SD7s at Front of House, with SD10s at monitors for all three stages, whilst DiGiCo’s Belgian distributor Amptec replicated the live sound set up with an SD7 and SD10 for the newly instated backstage prep area, where engineers were able to check their sessions, or make new sessions if needed.

Two SD7 and a brand new SD5 DiGiCo protected by the weather conditions thanks to a big shelter.

An engineer from Amptec and another from PRG were present in the backstage prep area, making sure the right sessions went on to the right desk. As an added level of comfort, DiGiCo sent support from its UK office in the form of Product Specialist Dave Bigg. “We know the consoles really well,” Patrick continues, “but having Dave there gave an extra level of service to the bands and they really appreciated it. They knew that nothing could go wrong because there was someone from the DiGiCo there.”

The backstage prep area isn’t an entirely new concept; DiGiCo has been running the same facility at the Montreux Jazz Festival since it became one of the Festival’s sponsors in 2009. “ This was where I got the idea from, ” says Patrick. “ It’s all about confidence for the engineers. If they’re feeling relaxed, then there’s no problem. ”

Lenny Kravitz’s show, an artist using since a long time the brand and specifically the SD7. He certainly did appreciate Demoustier’s move !

With a proportion of bands carrying control systems with them on the festival circuit, uptake for the house consoles was consistent with expectations.
“ On the main stage we had an average of two out of eight bands a day using the house consoles, ” says Patrick.

“ On the Marquee and the Club C stages that increased to around 50 percent. Everyone really liked the DiGiCos. I was actually quite surprised when we sent out the specs of the festival;

I expected a lot more people to come back and say ‘ we can’t use DiGiCo because we only have a session for a different console, ’ but most were happy to work with DiGiCo straight away.

It all went really smoothly and everyone was very happy. My impression was that it was even better than when we used to use analogue desks. With an analogue desk, you have to start your setup from scratch, but with the new prep room names, IO settings high pass filters, basic EQ settings and FX presets, were dialled in and some compression was already set on the right channels, so the start point was at a higher level than ever before. ”

In fact, Patrick and his team felt the DiGiCo experience was such a success that they are going to take it to Belgium’s Pukkelpop festival in August. “ Pukkelpop has more stages than Rock Werchter, ” says Patrick. “ We’re doing around five out of the eight stages there and we’re trying to do as much as we can with DiGiCo because we really liked the experiment.
“ I don’t know of many festivals that do things this way. I think it’s a major step forward for us and for DiGiCo. ”

More informations on : www.digico.biz