The artist behind the Billboard Hot 100 hit “Truth Hurts”, Lizzo, is just wrapping up her -Cuz I Love You Too Tour- accompanied by a pair of Clair-supplied DiGiCo SD12-96 consoles for FOH and monitors, handled by Brandon Blackwell and Loreen Bohannon.

Lizzo has made her mark on the music industry. Completing her music-industry conquest, the Cuz I Love You Too Tour has sold out all of its shows since it began this past April, with some venues demanding additional performances. All of these shows were mixed via two DiGiCo SD12 96 consoles at the front-of-house and monitor positions, provided by Clair Global, which is also the SR provider for the tour. Brandon Blackwell helmed Lizzo’s FOH console while Loreen Bohannon handled her monitor duties.

Brandon Blackwell at FOH for Lizzo on a DiGiCo SD12 96

“I started with Lizzo in late May of this year when her tour was in between legs, but since then we have been super busy, doing just over 90 shows in the past six months,” says Blackwell. “For this tour, I specified a DiGiCo SD12 96 for FOH. I have been on a SD12 the entire year with my other clients, but I was super excited for the new update to 96 inputs and 48 busses. With the extra I/O, I was able to add some extra key FX sends and returns, and also more parallel groups to my mix.

“As usual, I have paired my DiGiCo console with a Waves SoundGrid setup. While Waves is taking care of processing my vocals, subgroups and EFX, most of my heavy lifting of processing the playback tracks is being taken care of onboard the console. For each playback channel, I am using the dynamic EQ and multiband compressors to shape my mix. Snapshots are a big part of my mixing, so I really enjoy having all of these settings change when I hit ‘next.’”

Blackwell adds that having the same consoles at FOH and stage left has made the tour’s workflow vastly simpler and more efficient. “I’m a big believer of cutting out the traditional analog splitter, and this tour has followed suit,” he says. “Both of our consoles and the stage rack are on a fiber loop, and all of our inputs go directly into the SD-Rack, which has six new 32-bit Mic Pre-amp cards and one AES/EBU input card.

With this setup, we have taken full advantage of those features that are unlocked when using an Optocore loop. Loreen has control over the gains, and I use the digital trim with gain tracking engaged. We also use the Con Send and Receive feature to move key audio sources between both desks. And since the crowds can get up to 115 dBA at FOH, we rely on the chat feature a lot. It has to be one of my favorite management features of the DiGiCo platform.”

Lizzo performing, Loreen Bohannon takes care of the monitors using the very same setup used at FOH : DiGiCo and SoundGrid.

Blackwell further says that the DiGiCo consoles, in conjunction with a DiGiCo Orange Box multi-format interface, have also made track playback during performances much more reliable and straightforward. “The progression went from a DJ rig to an Ableton playback setup, but we decided that MADI would be the next step,” he explains.
“Thanks to our playback operator, Hugo Marcotte, we made the leap to a full redundant MADI setup with an analog backup. Hugo is sending 32 channels of audio over MADI and analog into our Optocore loop using an Orange Box with DMI-OPTO and DMI-MADI-B cards installed. This allows both of our consoles access to the MADI stream.

“To make sure that both the MADI and analog channels are both working properly, I use a macro that switches between the two input sources. This macro has come in handy the one time we had an issue with the MADI stream losing word clock. The switch between the sources was seamless and the show continued on while we fixed the MADI word clock.
I have always been a fan of using fewer audio conversions, so with the MADI playback and our microphones running over AES, everything that comes out of the PA is digital and clocked all the way up to the amps. This is a first for me but I can really hear the difference and it sounds amazing!”

Lizzo monitor engineer Loreen Bohannon setting up her SD12 96 for a show.

Monitor engineer Loreen Bohannon, who began with Lizzo in April ahead of her Coachella appearance, is also a dedicated DiGiCo fan, having been out previously with SD10 and SD12 desks with Michael Bolton.
Bohannon’s Lizzo stint began with a compact SD11, a perfect fit for the smaller rooms on the tour’s early dates, and it also came with DiGiCo’s legendary support.

“DiGiCo was absolutely crucial to my success on that tour, always being available for me when I ran into a tech issue,” she recalls. “They always had it quickly resolved and provided excellent support, which is critical when you are the only audio tech on the tour.”
As Lizzo’s popularity grew, so did the shows. “The SD12 was already my favorite console from my Bolton days, and I was more than excited to add this to our gear and get the new software update to 96 input channels!” she says.

Bohannon also praises the SD12’s more practical operational aspects: “One of my favorite features on DiGiCo consoles is the ability to lock cards, determine how you share the split and the general control you can have in the stage racks. It is a wonderful feature to have when you are sharing racks, not only for my safety in monitors, but also for anyone else on the loop. Not being able to grab an output card by accident is a great relief when you have to patch quickly!”

Loreen Bohannon stage left on Clair’s DiGiCo SD12 96 desk

Both Blackwell and Bohannon give the SD12 credit for the tour’s technical success, but also for how it lets the artistry shine through. “The dynamic EQs, the quiet 32-bit head amps, integrated UBMADI for multitrack recording and playback, virtual soundcheck through the console, everything on the DiGiCo contributed to a smooth show,” says Bohannon. “I love the consistency I am able to provide for my artists from the DiGiCo platform.

For a list of Lizzo’s upcoming live performances, visit Lizzo Music website
Clair Global can similarly be found online at Clair Global website
For more information, go to Digico website

MAG Audio launched the MAG MUST, an innovative system solution based on the Wasp line array model and created to optimize the stock and shipping capacity for rental companies, during a special event at the NSC Olimpiyskiy Stadium, Kyiv, Ukraine.

The audience facing the system and the stage. Pretty far by the way.

MAG MUST, short for Multiple Uniform Sound Technology, is a scalable line-array based solution to create a uniform sound dispersion in a hall or arena of any size. A turnkey solution for the customer, MAG MUST is the total package, complete with every piece of equipment necessary starting from speakers and amplifiers to cases and cables, not to mention free training, technical support, and marketing support.

The Wasp, two 8” and a 2,8” driver, 22 kg and existing as a 70° for a long throw and 110° for short, is the key component of the MAG MUST package.

MAG’s CEO Alexander Khasin explains it best: “Today’s sound rental companies often have a diverse clientele with diverse needs, forcing them to have a wide variety of speakers and arrays to fit varying event sizes and spaces.
They have to have in stock a multiplicity of products. With MAG MUST, you have a one-stop line and array that can serve the needs of any client, regardless of the event’s demands. MAG MUST will save invaluable time and money by offering streamlined services in the form of a singular product.”

MAG MUST offers the opportunity to optimize the stock while offering maximum flexibility in both logistics and storage and is based on the versatile and compact WASP line array, which has been proven to show excellent results in small venues and large concert tours alike. WASP cabinets are supported with a range of raised or ground-stacked subwoofers.

The stage with an impressive end fire array of 48 H24 stacked in front of it, some very powerful hybrid horn subs reaching 149,5 dB of SPL Max. Also easy to spot, the first raw of delays and in the very middle of it, the FOH.

MAG MUST takes advantage of the state-of-the-art amplification solution provided by Powersoft, with whom MAG Audio shares a long history of partnership, most notably with the most advanced cinema subwoofer in the market today, the THOR. Powersoft X series amplifiers provide MAG MUST with a flexible speaker architecture, so users receive a complete system capable of handling any event from the get-go.

The stage with the two endless main hangs comprising of, per side, 24 Wasp and behind them, 12 S-12 low extension cabinets.

One large demo took place at Kyiv’s NSC Olimpiyskiy Stadium featuring up to 176 Wasp, 68 S-12 bass extension cabinets and 48 H28 subs. Ease 3 shows the quality of the sound pressure level obtained on the targeted zone.

12 hangs of Wasp charged by his low extension companion S-12 and turbocharged thanks to 48 H28 subs, can deliver a uniform sound pressure level within 3dB on a very large zone.

Check the Mag Audio short movie of that very day at Kyiv’s NSC Olimpiyskiy Stadium.

MAG Audio, headquartered in Bila Tserkva near Kiev in Ukraine, is the largest speaker manufacturer in Eastern Europe. Since its creation in 1991, it’s one of the few manufacturers producing its own transducers and high-frequency drivers, using components from world-class suppliers.
Today, MAG Audio produces a wide range of passive and powered speakers, including portable, installation and rental & touring systems. Made exclusively in Europe, MAG Audio’s products are known for their sound quality and power capacity, backed up by a 5-year warranty, and with a flexible pricing policy.

For more information, please visit Mag Audio website

Untold, one of the world’s best and biggest dance festivals was recently produced for just the fifth time. This Festival attracts people from all over the world, both by its bill of leading artists as well as its extraordinary visual production.
The mainstage is located inside the Cluj Arena stadium in Romania and almost all stages were designed with a lot of CLF fixtures.

One of the trusses charged with Ares.

Lighting Designer André Beekmans (The Art Of Light) was responsible for designing the mainstage. Chris Das (Four Aces) took care of production management and design of the secondary stages.

The main goal was to achieve and elevate the light design in comparison to anterior years. Fourteen trusses with CLF Ares and Orion fixtures were added to the Arena setup.

“We used the Ares to create a massive audience wash, which worked really well for the live stream as well as pictures. We used Orions as effect lighting and its spot/beam functionalities meant it was the perfect fixture for creating spherical effects to hype up the crowd”, says Beekmans.

CLF Ares

CLF Orion

The stage itself had to be suitable for touring artists with their own floor kits. The house rig ensured the whole stage had a combination of spots, washes and beams. The wings of the stage were filled with scenery.

CLF Yara fixtures took care of the small details, whereas Ares fixtures functioned as main scenery wash. Chris Das: “Every time, the Ares surprises me in terms of their output and intense colors. Moreover, the flexible diffusor kits make it very easy to find the right balance.”

CLF Aorun

Aorun beams were used as effect lighting for the complete mainstage: “The Aoruns really helped extend the stage visually into the arena itself. We are very familiar with using CLF fixtures and the possibilities they offer and we use them for many other shows, like Amsterdam Music Festival for exemple. These fixtures were also very much appreciated by visiting guest LDs”, concludes Beekmans.

Beams Aorum nestled in the scenic setting.

Because of their heavy duty housing, excellent colors and high output, we decided to purchase Ares, Yara and LEDbar PRO fixtures. We plan to deploy them in Romania throughout the summer. For example at Neversea Festival, Afterhills, Hifi and Mioritmic.
Our next event is Chouette, a small business-focused event on a beautiful new location in Gilau Transilvania near Tarnita Lakelake. We will be deploying 140 Yara, 24 Ares and 48 LEDbar Pro fixtures there”, says Das.

More on the CLF Lighting website

Ils ont essayé sans maquillage, mais c’est bien grimés qu’on reconnait KISS. Show devant !

Headlined by Def Leppard, KISS and Iggy Pop, Alcons Audio pro-ribbon systems again succeeded in the difficult task of giving 19000 Trondheim rock fans the volume and clarity they wanted, while keeping levels outside the arena low enough.
Held in the grounds of the Norwegian city’s Dahl brewery, a big part of last year’s success was thanks to the Alcons pro ribbon systems used on both the main and second stages.

This year, the event’s sound was again supplied by Trondheim Lyd, with the power and coverage of the LR28 larger format line array modules again meaning that no delays were needed to cover the 109m deep audience arena.
Last year the system proved so efficient that this time a smaller main stage system was used, comprising 18 LR28 per side, 32 BC543 very high output cardioid subwoofers and 40 LR18 mid-sized line array modules for inner, outer and sidefills.

Le LR28. Deux 14” pour le grave, quatre 6,5” pour le médium et un ruban de 14” pour l’aigu,. 144 dB SPL Max entre 200 Hz et 10 kHz. Le tout en 65 kg.

Six VR12 mid-sized versatile monitors were used for front fill, with the system powered and controlled by 44 Sentinel10 amplified loudspeaker controllers. The secondary stage featured main hangs of 10 LR28 each, with 16 BC543 subs, all powered by 17 Sentinel10s.

As well as the exceptional audio quality produced by the Alcons pro-ribbon drivers, the directivity and all-natural cylindrical wavefront means that the sound pushes through any wind issues and can be very precisely aimed.

“After last year’s great success with the LR28 system, we and the festival management, Trondheim Stage, demanded the same high standard again. It was an obvious choice to use the LR28 for both stages this year,” says Trondheim Lyd audio technician Arnstein Fossvik.
“The LR28 is one of the fastest systems to simulate, rig and optimise. Combined with the exceptional sound quality, coverage consistency and high power, it’s ideal for outdoor rock festivals. The ALControl software also makes it easy to set up and optimise, as well as controlling and monitoring all levels.”

Le sub BC543. Trois18” en pur carbone, bobine de 5,3” dont deux avant en montage bass reflex avec un évent prenant 25% de la façade et un arrière pour générer la réjection pouvant aller jusqu’à 42 dB.

Because the nearest houses are just 20m from the arena, the noise regulations for Trondheim Rocks are strict. However, Alcons pro-ribbon systems meant the Trondheim Lyd team had no problems in complying with them, yet not compromising the audience’s enjoyment.
“We used horizontal sub arrays on both stages and, as the BC543s are self-contained cardioid subs, there was minimal sub-bass leakage outside the audience area.

The LR28 cabinets are also extremely directional, making it easier to keep the energy within the festival area,” says Arnstein. “Most of the band engineers had not heard the LR28 system before, but they were all very impressed by the high sound quality.” Arnstein concluded: “With the ample HF headroom available, corrections on the upper-high frequencies to compensate for the wet conditions, maintaining the high-fidelity and the full 1:10 dynamics, was a breeze.”

“As with last year, we wanted the back of the arena to be quieter, so people could talk while enjoying the bands on both stages, but to maintain the same high sound quality and intelligibility,” adds Trondheim Rocks festival producer Espen Hammer. “Like last year, we had a lot of good feedback from both the audience and press regarding the sound and no complaints at all from nearby residents.” Trondheim Rocks has been one of many highlights in a year full of them for Alcons pro-ribbon systems.

Def Leppard en pleine action. On voit distinctement les infills en LR18 et les deux longues lignes de LR28.

The week before the festival, the LR28 system had been used for Sting, earning generous praise, while other live events featuring Alcons systems have included the Milkshake festival in Amsterdam, Off festival in Poland, concerts and tours by Alan Parsons, Brian Ferry, A-Ha, Turbonegro, Luke Elliot, High as a kite, but also Underworld, Barbara Schöneberger and violinist Nigel Kennedy. The diverse range of artists underlines the versatility of the Alcons pro-ribbon sound systems.

More informations on :

The Alcons website
The festival
Le prestataire local Trondheim LYD

Germany’s KLOTZ AIS, synonymous with cable products of the highest quality since 1979, has appointed DWR Distribution as its new distribution partner for South Africa with immediate effect.
As a global leader in design, production and marketing of audio, video, multimedia and fibre-optic cables and cable solutions, Klotz AIS is active in 130 countries around the world.

Frederic Kromberg, KLOTZ (right) with DWR’s Bruce (left) and Duncan Riley (center)

Frederic Kromberg, Director of International Sales at Klotz visited DWR in Johannesburg to secure the deal. “KLOTZ cables have been available in South Africa well over 15 years, but as a strongly solution-oriented company, especially with rental companies, installers and broadcasting markets we are very excited to develop and expand the Klotz cable business in South Africa with the highly professional team of DWR. We believe this is a great opportunity for DWR to develop our extensive product range.”

Klotz AIS celebrates its fortieth anniversary this year and in those four decades has built an excellent reputation. Klotz is renown for high quality, durable products and meets the technical specifications both musicians and professional users expect from a cable and cable systems. “Once people have experienced Klotz they always come back,” said Frederic. “Very often underestimated, the interface between all your devices is as important as the devices itself.”

Said Duncan Riley of DWR Distribution, “I knew of the Klotz brand and always admired the quality. But I really got a good feeling when I met Frederic and realized that their company was as people orientated as what we are. It’s an honour to be the distributor for this professional company and fine brand and we look forward to many years to come together.”

(Back row) The DWR team, Annalise Hodgson, Kevin Stannett, Johnny Scholtz, Marlene Riley, Bruce Riley, Schalk Botha, Vincent van Niekerk, Richard Smith (front) Frederic Kromberg (Klotz) and Duncan Riley.

More information on the Klotz website, the the Klottz Fiber website and the DWR Distribution website

Robert Juliat is very excited that Robert Coleman, lighting designer for Iron Maiden, specified 6 (not 666!) Robert Juliat Lancelot 4000W HTI followspots for the band’s current Legacy of the Beast World Tour, which started with a 38-date European leg in May 2018.
This is not the first time Coleman has used Robert Juliat followspots, having also specified them for the band’s 2017 The Book of Souls world tour.

“I’ve always found Robert Juliat incredibly reliable,” says Coleman who, first and foremost, takes advantage of Lancelot’s 2°-5° zoom range. “Despite Lancelot being a long-throw followspot, it can easily handle the great variety of throw distances involved in touring different venues.
Sometimes we have outdoor shows where the FOH position can be quite close to the stage; other times we can be somewhere the size of the O2 Arena with the spots mounted on the backwall. The Lancelots hold up well in both situations. The zoom and the optics are good in either position. And obviously they are crazy bright!”

Copyright John Mc Murtrie

For the current Iron Maiden tour, Coleman has used the Lancelot followspots ‘in every configuration you can think of – FOH festival towers, the back wall of arenas, on catwalks…they have been everywhere you can imagine!” He specified six of the grand RJ beasts with the initial intention of carrying one as a spare, but this soon developed into allocating one Lancelot for each member of the band.
“We found six was the ideal number, with one sitting on the drummer to act as a working spare should anything goes wrong,” says Coleman. “It’s useful to have an extra spot up there, always ready to go, which we can use to add extra highlights when we want them, and to handle the occasional sightline issue when the size of the stage set presents a problem in some venues.
Some adverse angles mean we can’t always hit the lead singer with one spot at all times, so by touring six we have the capacity to double up and use two spots to avoid shadows. And, of course, that extra followspot has the important role of picking up the band’s mascot, Eddie, when he makes his big appearance!”

Lancelot’s HTI source is also a firm favourite with Coleman: “The lamp has a good colour temperature which is not too harsh on the band members. I found a nice colour combination of corrections which gives a good, fleshy skin tone that makes all the band members look vibrant, healthy, warm and human…and looks great on the IMAG too.”

The Robert Juliat fixtures have proved their worth during set up and transportation too as Coleman explains: “The Lancelots are easy to set up and much quicker than other followspots because the bulb travels within the unit and doesn’t need setting up, and the stands go together quickly. This frees up a lot of time during pre-show checks to do other tasks. Additionally, from my perspective the iris and the motion of the spot are always very smooth, which is what we are all looking for!”
The six RJ Lancelot units have been supplied for the entire tour by London-based Neg Earth Lights, which also supplied Robert Juliat for last year’s The Book of Souls world tour. “As usual, the Robert Juliat spots have been meticulously maintained to the point of perfection by Neg Earth which always helps,” says Coleman. “The thoroughness of their preparation keeps everything running perfectly.”

For more information on Robert Juliat Lancelot followspots and the full portfolio of RJ lighting fixtures, visit the Robert Juliat website

Yamaha has a digital mixing solution suitable for every type of broadcast need. All will be on show at IBC2018, including new products and updated firmware. Yamaha systems will also be mixing keynote speeches and other presentations throughout the show.

Yamaha Rivage

Yamaha’s RIVAGE PM10 and PM7 digital mixing systems have rapidly become the new byword for excellence in the large format console market. The facilities, audio quality, flexibility, high channel counts and ease of use are all proving a hit with engineers across the world. IBC sees the launch of updated firmware and two new interface cards for RIVAGE systems, which add features especially relevant to the broadcast market.

The HY128-MD

The HY128-MD is a 128-in/128-out interface which can be used to convert the output of a RIVAGE PM10 system to MADI, for transmission to a broadcast OB truck or to connect to a MADI-based mixing console, as well as providing asynchronous sample rate conversion for devices using different word clocks to be connected without noise and dropouts.

The HY144-D-SRC interface

The HY144-D-SRC supports up to 144 inputs/144 outputs via Dante with onboard sample rate conversion, adding convenience to systems where devices running at different sample rates need to be interconnected.
Meanwhile, the latest Version 2.20 firmware supports both the new cards and adds several new features for PM7 and PM10 systems.

A video from Yamaha explains the advantages of these two cards:

New Version 5.1 firmware update for Yamaha’s CL and QL series digital mixers directly supports the Sony DWR-R03D DWX digital wireless receiver – used extensively in both broadcast and live production environments – significantly enhancing the value of existing and future CL/QL-based audio systems to broadcasters.

Sony DWR R03D

In addition, the latest firmware for all Yamaha digital mixers means that they now feature multiple channels of Dan Dugan automixing, making them the ideal solution for all kinds of multi-microphone broadcast applications.

Another Yamaha broadcast-friendly update on demonstration is Version 1.1 firmware for the MMP1 studio monitor management system, which adds a range of refinements and support for the CB Electronics TMC-1 monitor controller.

Alongside these new developments, Yamaha’s stand at IBC will feature the industry-leading, fully integrated Nuage production system, R-series D2 Dante I/O units, RMio64-D Dante-MADI I/O unit, RSio64-D Dante-Mini YGDAI interface and SWP1 series network switches.

Nuage

The DZR12

Meanwhile, all of the Keynote speeches taking place in the Forum at IBC 2018 will be mixed on a Yamaha CL series console and those in Rooms E102 and G102 will be mixed on a QL series console, all three spaces also using with R-series D2 I/O racks.

The new DZR series loudspeakers will also feature in Room E102, where a 5.1 surround system will comprise four DZR10 and three DZR12 full-range loudspeakers, plus two DXS15MkII subwoofers. A separate voice system of two DZR12s will also be used, while four DZR10 will be used as stage monitors in the Auditorium.

Yamaha is exhibiting on Stand C71, Hall 8 at IBC2018, which takes place at the Amsterdam RAI from 14th – 18th September.

And More information on the Yamaha Audio website

The Irish national holiday of St. Patrick’s Day is always celebrated on March 17th and the day is widely acknowledged by Irish and non-Irish alike. In Rudolstadt, Germany, event technology service provider LB-TEC was tasked with illuminating the famous Heidecksburg castle in the Irish national color of green and chose powerful Elation Professional Paladin™ lighting fixtures for the job.

©Tommy Pekruhl

LB-TEC has illuminated the city’s residential palace for years and has always used a large amount of LED washes, fixtures that had to be installed with cumbersome weatherproof protection. This solution was not only relatively expensive but also very time consuming. For the St. Patrick’s Day illumination, the company opted for a more practical solution and invested in eight Elation IP65-rated Paladin™ wash/blinder/strobe lights.

“We chose Elation’s Paladin because it’s a weatherproof light with high output and attractive zoom range. On top of that, the price/performance ratio was convincing,” explains LB-TEC owner Volker Schmidt. “In the future, we will use the units primarily for ambient lighting in outdoor areas, for effect lighting on stages and, as in the case of Heidecksburg, for barrel lighting at a great distance.”

©Tommy Pekruhl

The IP65-equipped Paladin is a versatile and powerful hybrid unit with twenty-four 40W RGBW LEDs that can be used as a bright wash light, full-color strobe, powerful blinder or great effect light. A motorized zoom offers full flexibility in the range of 6-32-degrees for adjustment of the beam to any application. LB-TEC was able to illuminate the entire city-side façade of the castle with only eight units, covering the entire facade in green.
Setting up the fixtures and adjusting the zoom took only a few minutes. The Paladins were placed about 200 meters away from the façade and although it was lit exclusively in green – so only 25% of the power was available – the building was intensively soaked in color.

Elation Paladin Video demonstration

More information on the Elation website