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OCTOBER 2014 ISSUE 182
LIVE EVENT DESIGN & TECHNOLOGY • OCTOBER 2014 • ISSUE 182

HYPNOTIC EYE, TRANSFIXING SOUND

TOM PETTY & THE HEARTBREAKERS
REVEAL A NEW LIVE SOUNDSCAPE
THE WAITING IS THE HARDEST PART....

IN THE SPOTLIGHT: K-ARRAY KH8 • BAD UNCLES • EDINBURGH FRINGE FESTIVAL • CREAMFIELDS
LEROY BENNETT • V FESTIVAL • ROCK EN SEINE • ROBE TURNS 20 • RIGGING AND TRUSSING MARKET FOCUS
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Total Production International, April 2014 3/25/14
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PRODUCTION NOTES
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 PRELUDE

PROTOUCH STAGEOPERATOR

8,4“ Colour Touchscreen

A FOND FAREWELL AND NEW HORIZONS

It’s never easy talking about the big C, and what a most uninvited guest it is, but our
industry lost a couple of very well respected and admired gentlemen to it recently.
Our heartfelt thoughts are with the families, friends and colleagues of both Clay
Paky’s Founder and entertainment lighting visionary, Pasquale Quadri and talented
Sound Designer, Derrick Zieba. In the spirit of their own passionate personas, we at
TPi are celebrating the impact their work had on the industry, and how their expertise
was able to educate and inspire others. Obituaries can be found on P.8.
Cancer charities are also, in part, a topic in this month’s Clocking Off as Music
Bank’s Jimmy Mac kindly forced us (and we loved it!) to get involved with the Ice
Bucket Challenge. You can even buy his 100% charity donation tee-shirts. Details are
on P.88. If you pro-actively get involved with a charity then please let us know, after
• Linkable Motor Distributions
all, funsraising is more fun with other people, and good people are what this industry
• Integrated Software for
is built on.
System Configuration
Back in the office, we’re fresh from the PRO Show at Birmingham’s NEC. The new
• Password Management
exhibition for our industry - which took place from 13-15 September - was met with
• Group-Shutdown Functions
anticipation and a nod of approval from both exhibitors and visitors alike. As with any
• Displaying of Positions
new venture, there’s a lot to be learned and a new atmosphere to soak up, but we’re
and Destination Runs
delighted that so many familiar faces turned up in curious support. PRO now has the
• Load-Measuring with integrated
potential to become the UK’s major entertainment technology tradeshow. We would,
Shutdown Functions for
of course, appreciate your feedback too, so please feel free to email the team. I’d also
Over- and Underload
like to extend our thanks to the kind folks who came to party with us on the Sunday • Displaying each Drive Status
night. Our feet ached, our livers cried and our best game faces still hit the show floor Position, Load and Errors
on Monday. I’m pictured here with our new recruit, Charlotte and a much-needed • 15“ Touchscreen as Option
sugar fix thanks to ADJ. • Network-Based System
Back to the present, and our October issue is “Our heartfelt thoughts are Configurations avaialable on request
heaving. Our cover story details the audio set up
on Tom Petty’s Hypnotic Eye tour which recently
with the families, friends and
CHAIN HOISTS • CONTROL SYSTEMS • SOLUTIONS
finished in North America. FOH Engineer Robert colleagues of both Clay Paky’s
Scovill has taken EAW’s new Anya system out on Founder and entertainment
the road for its first tour, so to find out what this
lighting visionary, Pasquale
crew thought, turn to P.12.
This edition also features coverage from Quadri and talented Sound
several festivals such as Rock en Seine in Paris, Designer, Derrick Zieba....”
France; and in the UK, V Festival in Chelmsford
and Stafford, Creamfields in Daresbury, and the Edinburgh Fringe. We’re also happy
to present you with this month’s Company Profile on Robe - just in time for its 20th
anniversary. Patrick interviewed Josef Valchar about the company’s development and
the reception to its latest product, the incendiary BMFL.
If that wasn’t enough, we’ve got an exclusive interview with lighting legend,
LeRoy Bennett, who spoke to us from Melbourne’s Entech Connect. And we also info@chainmaster.de
managed to pin down XL Video Project Manager, Jo Beirne. Well, just about, in
between flights to Ibiza’s closing parties. (Oh Jo, if you bump into Hannah, remind
her that the Manchester rain is here, waiting). Jo reassures us that when a woman is
CHAINMASTER BÜHNENTECHNIK GMBH
told she’s “too old” to learn, she’ll probably do it better than the fella dishing out such Uferstrasse 23, 04838 Eilenburg, Germany
Tel.: +49 (0) 3423 - 69 22 0
dire advice in the first place... P.114 awaits your reading pleasure.
Fax: +49 (0) 3423 - 69 22 21
Kelly Murray
E-Mail: info@chainmaster.de
Editor www.chainmaster.de

05
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 ITINERARY
OBITUARIES
08 Pasquale ‘Paky’ Quadri
TPi takes a look at the lighting legend that was
CREW
a member of
Clay Paky’s Pasquale ‘Paky’ Quadri.

10 Derrick Zieba
Editor We reflect on audio engineer Derrick Zieba’s life
Kelly Murray and career.
Tel: +44 (0)161 476 8360
EVENT FOCUS
Mobile: +44 (0)7738 154689
e-mail: k.murray@mondiale.co.uk
12 Tom Petty
Robert Scovill specifies EAW Anya for the MASTER
Assistant Editor
Hypnotic Eye arena tour.
THE BEAM & MOVE
Patrick McCumiskey
Tel: +44 (0)161 476 8385
20 Nordoff Robbins
Simon Duff reports on how the music charity is THE CROWD!
Mobile: +44 (0)7929 249169
working to transform lives. ...with Elation Professional’s
e-mail: p.mccumiskey@mondiale.co.uk 26 Knight of Illumination 2014
family of Beam Fixtures
TPi takes a look at this year’s nominees.
International Advertising & Sponsorship
Hannah Eakins 28 Bad Uncles
Tel: +44 (0)161 476 8360 It’s a welcome return for the German Rockers.
Mobile: +44 (0)7760 485230
34 Absolute Y-Series
e-mail: h.eakins@mondiale.co.uk d&b audiotechnik is providing flexible and
configurable solutions.
Advertising Sales
Charlotte Goodlass 36 Edinburgh Fringe
Tel: +44 (0)161 476 8360 Proving 49,497 performances of 3,193 shows in
Mobile: +44 (0)788 0208 226 299 venues is no easy feat.
PLATINUM BEAM
e-mail: c.goodlass@mondiale.co.uk
44 Current RMS 5R EXTREME
RAYZOR BEAM 2R
Setting the standard in the rental software market.
Graphic Design & Production
Dan Seaton: d.seaton@mondiale.co.uk 48 The Italian Way
Mel Robinson: m.robinson@mondiale.co.uk Litec and AMG at Rome’s Auditorium Parco della
Musica.
General Manager Justin Gawne
52 ANNE
Q&A with Sound Designer Jeroen Ten Brinke on
Mondiale Group Chairman Damian Walsh this new, powerful live performance.

www.tpimagazine.com • www.tpiawards.com PRODUCTION PROFILE

56 Creamfields
Cover Photography The world’s largest EDM festival is back for the
summer.
Mirza Noormohamed, Wandering Eye
72 V Festival
Contributors Simon Duff TPi takes a look at what the two-site music festival
achieved in 2014.
NEW
Printed by Buxton Press PLATINUM SBX
Annual subscriptions (including P&P): 80 Rock En Seine NEW
Held on the banks of the River Seine,TPi PLATINUM BX
£42 (UK), £60 (Europe), £78/$125 (RoW).
investigates what the French scene has to offer.
Subscription enquiries to: Subscriptions,
Mondiale Publishing Limited, Waterloo Place, INTERVIEW PLATINUM BX/SBX
Watson Square, Stockport SK1 3AZ, UK; 86 LeRoy Bennett featuring the new
Tel: +44 (0)161 476 5580; World-renowned Lighting Designer
Fax: +44 (0)161 476 0456; LeRoy Bennett lets TPi into his world. MSD Platinum
e-mail: subscriptions@mondiale.co.uk
CLOCKING OFF 17 RA Lamp
88 Ice Bucket Challenge by PHILIPS™
Issue 182 / October 2014 A few familiar faces take up the challenge, all for
TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine,
a good cause.
published 12 times a year by Mondiale Publishing Limited under licence. ISSN
1461-3786 Copyright © 2014 Mondiale Publishing Limited. All contents of IN THE SPOTLIGHT
this publication are subject to worldwide copyright protection and reproduction
in whole or part, in any form whatsoever, is expressly forbidden without the
94 K-array’s KH8 is here
prior written consent of the Publishers. Every effort is taken to ensure accuracy The Italian giant launches the next generation of
in the preparation of this publication but neither Mondiale Publishing Ltd, touring line array speakers.
nor the Editor, can be held responsible for its contents or any consequential
loss or damage resulting from information published. The views expressed
are not necessarily those of the Publishers or Editor. The Publishers accept
MARKET FOCUS VISIT US!
no responsibility for the return of unsolicited manuscripts, photographs, 96 Rigging & Trussing
illustrations, advertising materials or artwork. All that’s new in the world of truss and rigging.
Total Production International USPS: (ISSN 1461 3786) is published 12 times
a year by Mondiale Publishing Limited United Kingdom. The 2014 US annual
subscription price is 117USD. Airfreight and mailing in the USA by Agent
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named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, 106 The PSA gets active. Will you?
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VITAL STATS +31 45 546 85 66
114 Jo Beirne of XL Video takes the hot seat.
07
 OBITUARY: Pasquale Quadri
PASQUALE QUADRI - THE CREATIVE
SOUL OF CLAY PAKY - 1947 - 2014
Born in Seriate, Bergamo, a province of
Lombardy, Italy, Pasquale ‘Paky’ Quadri was
a highly successful entrepreneur and pioneer
in the professional lighting industry - rarely
seen, but highly respected by peers, lighting
designers and competing manufacturers the
world over.
Lighting Designer Nick Whitehouse,
commented: “Paky was one of the major
founders of the lighting industry we know
today. Throughout my career the products he
created have always been at the forefront of
technology and forever changed the landscape
of the lighting industry, not just once but over
and over again.
“He inspired me and many other designers
with his imagination and dedication to
perfection, never failing to provide amazing
new fixtures and features that have contributed
heavily to many of my designs. Above all
Paky was a gentleman both in the way he did
business and during the times I have been lucky
enough to meet with him.”
Truly passionate about technology and
the culture of innovation, the story of Paky
is closely intertwined with the history of the
08
entertainment business, and is studded with
great international success. He understood
the great development that the technological
evolution of lighting would have in the world
of show business and entertainment, a world
he already knew well as a youngster when, very
musically inclined, he headed several groups,
playing the organ, bass and drums.
Making the most of his inclination for
design in the field of optics and his passion for
precision mechanics, Paky lay at the heart of
most Clay Paky products. From the very first
lighting effects, such as the Astrodisco - an
icon of the disco era in the ‘70s and ‘80s, to
legendary automated lights Golden Scan (which
British new rave band Klaxons even wrote a
song about) and Sharpy, and then more recently
the B-Eye. Paky was there every step of the
way, growing the company from its humble
beginnings in 1976, up until very recently,
overseeing the transfer of Clay Paky ownership
to Osram, with the objective of securing further
expansion for the company.
SGM Lighting’s CEO Peter Johansen
commented: “I always regarded Pasquale
as one of the original inventors of modern

Opposite: Paky at Clay Paky HQ in Bergamo; Paky in the early ‘90s; Playing the guitar in a band; Paky in the ‘80s. Below: Paky with Lighting Designer, Rick Fisher; Clay Paky’s first exhibition stand.
entertainment lighting - a great engineer and a
true gentleman, who deserved all the awards he
received in life.”
Never giving into the temptation of moving
the company to countries with lower costs and
taxation, Clay Paky is one of the most brilliant
examples of ‘made in Italy’ in the world. The
designs made under Paky are the subject of over
80 patents around the world and have won
around 50 awards from the most prestigious
international associations.
Thanks to a strong development in demand
and the subsequent growth of the company,
in 1982 Clay Paky moved to a new site in
Pedrengo, also in the province of Bergamo.
Here, it was possible to work on an industrial
scale and handle an incessant increase in sales
volumes, due to the success of innovative
products, characterised by a higher content
of technology and a high index of quality and
reliability.
The factory was expanded a first time in
1986, followed the next year by a new legal
status, becoming a limited company, Clay Paky
srl. The further expansion of the factory in 1990
increased it to 4,500sq metres on two floors,
and the subsequent creation of an additional
complex for the largest mechanical work.
The company took on its current legal status
as a joint stock company, Clay Paky S.p.A., in
1993, when Paky gave rise to the project of
a new site in Seriate, based on an industrial
complex of a total of 10,000sq metres, which
became fully operative in 2002.
Toby Velazquez, President, ADJ Group of
Companies, commented: “All of us at the ADJ
Group were deeply saddened by the news of
the passing of Pasquale Quadri and send our
sincere condolences to the family. Pasquale was
a man of integrity and great talent and he will
be missed in our industry.
“Although I only met him once, I’ve always
respected his company and the creativity he
brought to our industry. The very first time I
went to Rimini in my early 20’s, seeing Clay Paky
was a true inspiration for me. The creativity
coming from the Italian companies was an
amazing sight to see and truly gave me a deep
love for our industry. Paky was a true icon of our
industry.”
Eric Loader, Sales Director at Elation
Professional, added: “We always enjoyed a
friendly relationship with Pasquale and have
always had the highest admiration for him and
his company. Clay Paky inspired us all to make
better lighting products and he built an amazing
company as a true pioneer in our industry.”
It was thanks to Paky’s intuition in
anticipating the market and his ability to create
revolutionary products, that over the years Clay
Paky conquered exceptional success and the
Sharpy is, without question, the most famous
moving head in the world of entertainment.
Launched in September 2010, observers
immediately understood that it was a unique
and unrepeatable product. With only 189W,
the moving head expresses a level of brightness
comparable to that of projectors nine times as
powerful.
Around the time of its launch, in an interview
with mondo*dr (issue 21.3), Paky was quoted
as saying: “Everything today is about the
beam strength. The beam technology has
revolutionised the whole approach to lighting
design. Any stage set today is covered by
light and LED screens and it is difficult to fight
against, projecting gobos is no longer the
point, the main issue is to have a solid beam
projector and create powerful mid-air effects
and laser-type flat scans. Optically, Sharpy, with
its extremely short arc burner, is completely
different.”
On a more personal level, Paky held several
positions in professional associations. He was
a member of the Board of Directors for Small
Industry and the Board of Directors of the
Metal and Mechanical Industry of the Industrial
Union Bergamo; the Board of Directors of
ArtigianFidi Bergamo and he was also Auditor
of the Accounts of APIAS (Association of Italian
OBITUARY: Pasquale Quadri
Manufacturers of Show Equipment).
He was also particularly attentive in his
support for charity initiatives, for education and
the world of associations and was one of the
founders of Bergamo Ama, which organises
sports events to raise funds for the treatment
of seriously ill children, to purchase equipment
for the handicapped and to contribute to the
activity of charity associations. He gave constant
support to the Nazionale Orchestre Italiane
football team, which Clay Paky sponsored and
which organises football matches throughout
Italy, each with a specific charity objective.
In 2006 Paky received the title of
‘Commendatore’ from the President of Italy and
then in March 2014, received the prestigious
‘Lifetime Achievement Award’ at the MIPA
Awards and was the first representative of the
lighting sector to receive this prestigious award.
Paky, 67, is survived by his wife Antonella,
his daughters Alessandra and Francesca and his
granddaughters Melissa and Martina. However,
his contribution to the world of entertainment
lives on through the countless shows and
venues using his inventions as noted by Robe’s
CEO Josef Valchar: “Pasquale was an inspiration
to a whole generation of people now involved
in the world of moving lights and stage and
entertainment lighting. His energy, originality
and creativity as a businessman in the 1970s,
during the very embryonic world of intelligent
and moving effects lighting and the success of
the company and brand that he helped build
and gain worldwide recognition, was something
we, as a company, have always admired.
“We respected his role in masterminding a
competitive brand. Healthy competition keeps
driving the market forward and stops everyone
from becoming complacent. A very private
individual, his contribution to the industry,
taking it forward and pioneering new concepts
and ideas has been invaluable, it’s helped make
the world a richer and more colourful place and
his legacy will continue long into the future.”
TPi
09
 OBITUARY: Derrick Zieba
DERRICK ZIEBA 20Hz-20k
Live Production is mourning the loss of
Audio Engineer, Derrick Zieba, who died
on September 15 after a recurrent illness.
The former Head of Sound at the National
Theatre, and founding Director of rental
house, Dimension Audio, Derrick’s credits
as designer and engineer include the
Brit Awards, the Classical Brit Awards,
the MTV European Music Awards, The
Queen’s Diamond Jubilee, Live8, and Nelson
Mandela’s 46664 charity concerts.
Throughout his career, Derrick managed
the difficult feat of being both exceedingly
competent and persuasive technically, ensuring
no compromise was brooked in the path to
perfect sound. He had the ability to charm
even the most demanding live performer or
producer.
These attributes proved invaluable to the
many projects he worked on, especially when
navigating the more Byzantine technical
necessities of producing audio at events for live
broadcast throughout the world. His nature and
10
generosity has led to heartfelt tributes from the
world of production on a Facebook memorial
page.
This tribute from fellow engineer, Jimmy
Nicholson reflects the feelings expressed by all:
“In my seven years with Britannia Row I’ve
had the pleasure and the privilege to work
with Derrick, and his wise words and positive
attitude have been an example to us all.
“I can’t recall meeting anyone who couldn’t
benefit from some of Derrick’s wisdom,
professionally or personally. It’s a well worn
cliché, but if only we could all be that good the
world would genuinely be a better place.
“There is generation after generation of
engineers at Brit Row whom Derrick has taken
under his wing and offered advice, and most
importantly encouragement. He’s taken young
engineers working their way up from the
warehouse, and showed them that yes, you
can run the RF for the UK’s most prestigious
music awards show, yes you can run the stage
patch for the main stage at Hyde Park, and yes
you can mix monitors for this band in front of
thousands, even if you think you might be out
of your depth, I think you can do it and I’m here
to back you up all the way.
“More than this though, we’ve lost a warm
and generous friend, for whom even the loss
of his father to the same disease a few years
ago, a serious car accident and the recovery
that took him away from the work he loved,
and finally his own 18-month battle with cancer
could not dent that relentlessly positive attitude.
“It’s with heavy hearts that the ‘Great Gig
in the Sky’ has taken our favourite Crew Chief,
you’ll be much missed Derrick, RIP.”
Derrick is survived by his children Emily,
James and Edward and sister, Linda. Donations
in Derrick’s memory can be made to The
Margaret Central Special Purposes fund (SPF
8497). Cheques should be made payable to
Barts Charity and mailed to Margaret Centre,
Whipps Cross Hospital. Online donations can be
made to www.bartscharity.org.uk/donate
TPi
 EVENT FOCUS: Tom Petty

HYPNOTIC EYE
NORTH AMERICAN RENTAL COMPANY, SOUND IMAGE, JOINED EAW’S EXPANDING GLOBAL NETWORK OF
ADAPTIVE PERFORMANCE PARTNERS THROUGH THE PURCHASE OF AN ANYA SYSTEM. AFTER PUTTING
THE SYSTEM THROUGH AN EXTENSIVE EVALUATION PROCESS, AWARD WINNING FOH ENGINEER, ROBERT
SCOVILL, SPECIFIED ANYA FOR TOM PETTY & THE HEARTBREAKERS LATEST ARENA TOUR, HYPNOTIC EYE.
TPi SPOKE TO THE AUDIO CREW FOR A TOUR EXCLUSIVE.

Tom Petty and The Heartbreakers Hypnotic
Eye arena tour - which features special
guest, Steve Winwood - began in San Diego
in early August. Along the way it maDe
stops at the scenic Gorge and Red Rocks
amphitheatres, as well as a special night
at Boston’s historic Fenway Park. EAW’s
Resolution software is set to become an
invaluable tool, which will be used to adapt
the coverage of the 54 module Anya system
to perfectly match the diverse requirements
of each venue on the tour.
“This is a very big day for EAW,” stated
Jeff Rocha, President of EAW when it was
announced that EAW had been chosen to
represent Petty’s live sound. “The collaboration
between this specific artist, engineer and
sound company is as good as it gets. Robert’s
[Scovill] selection of Anya further reinforces
the industry shift away from conventional line
arrays in favour of the pioneering technologies
of adaptive performance. And the level of
excellence that Sound Image consistently
delivers will make those technologies available
to a very wide range of artists.”
Dave Shadoan, President of Sound Image
added: “We analyse, watch and develop
evolving technology closely and we strive to
remain at the technological forefront in the
touring industry. When we see a product that
has the potential to cut a new path, we will
certainly get involved. When Robert came to us
with the concept of using Anya for Tom Petty,
we knew that it was time to pay attention as we
had been monitoring the Anya system as well.
“Robert is a very talented engineer and we
have had a strong relationship for many years.
As we roll this system out for its first major
tour, we’re confident that it’s in very capable
hands. It will be a great opportunity for Sound
Image to show the system to other engineers
that are curious about Adaptive Performance
technology, allowing them to see how it can
be used with their clients moving forward. Jeff
Rocha and the EAW team have worked very
hard to provide something new and different. It
is an exciting project to say the least.”
Production Manager on the tour is Chris
Adamson, a veteran in the industry by all
accounts, having been on the road for the last
50 years. One of his first gigs was working as an
engineer with The Rats - a British Rock band
- during the years of ’66 and ‘67. Adamson is
warm and most enthusiastic about his day, his
passion for tour life - and Petty’s music - clearly
seeping out of his husky Northern English voice.
Post 67, he went on to work with Fleetwood
Mac, touring with them for 40 years, and Pink
Floyd during tours for The Wall and Dark Side
of the Moon. Adamson said: “My claim is fame
is that I’m the voice on the Dark Side of the
Moon track… you know the line, ‘I’ve been mad
for fucking years’.”
Adamson has been working with Petty for
the last 15 years and made the move Stateside
to Virginia eight years ago, as his work is mainly
with US acts these days. He said of Petty and
the touring crew: “Great band, great people.
I’m actually still the new boy; most of the

12

Opposite: Sound Image has created just that for this tour, thanks to the purchase of the Anya system. Below: Tom Petty and The Heartbreakers have been performing for over four decades; The front man
himself, Tom Petty.
others have been on tour with Tom for 30
years.” Working alongside Sound Image for this
latest tour has been a highlight for Adamson.
“I’ve known Dave Shadoan for many years and
Sound Image is a great company, it has great
crew and personnel, and great service with
plenty of back-up and support. It’s an entirely
professionally run company.”
Prior to the tour, FOH Engineer Scovill was
testing out a few systems and in the end he
chose EAW’s Anya. “It’s a true line array, I’m
very impressed with it. The coverage and the
headroom on the system is so efficient,” said
Adamson. The kit is also efficient size wise,
the entire system fits into just one 45ft truck
- instead of the two sound trucks Adamson
is used to for Petty tours - and requires less
PA crew. It’s flexible too. “We’ve been using
the same system for 8,000 - 36,000 people.
It shows just how technology is moving on,
it’s great and I’m embracing it; it’s going to
transform the sound industry.”
The main PA for the tour is configured in a
L-C-R formation. The left and right clusters are
a singular arrays, which replaces the traditional
line array methods of flying a main and side
hang. If more than one column is used the
array works in 60-degree columns. The left
and right hangs each comprise 24 EAW Anya
boxes but the amount of boxes per column can
change each day depending on the location.
The most common array set-up so far has been
12 on the main, six on the middle and six on
the side column. The C array cluster is optional
and comprises a single column of six EAW Anya
boxes.
“I haven’t been this excited about a new
approach to PA technology in a couple of
decades now,” said Scovill. “The approach that
EAW has taken with Anya is a leap forward in
the quality and the way in which audio can be
presented to a large audience. I’m thrilled to
have the opportunity to be an early adopter of
Anya.”
Scovill first got into the audio industry more
than 30 years ago and in that time has built up
a sizeable reputation, but where did it all begin?
“I was a budding musician, but that all changed
when I got a good glimpse at what was going
on at the other end of the snake, so to speak,”
he said. After leaving high school in 1978, he
moved to Kansas City and was lucky enough to
get a job at Superior Sound. It was a company
that employed some very knowledgeable
EVENT FOCUS: Tom Petty
people, and so he was able to glean a lot of
information from them at a very young age.
“At that time there was a very active club scene
in the area with a great deal of activity in live
sound systems and mixing. In retrospect it was a
very rich environment for learning and growth.
There was an entire community of live sound
engineers that grew out of that era in Kansas
City.”
Scovill went on to work with Kansas City
band, Shooting Star, which headlined many
gigs in its own right, as well as opened gigs for
major touring acts such as Jefferson Starship
and ZZ Top. Through touring with Shooting
Star, he built his connections, contacts and
reputation and as a result has been working
with Petty for 20 years now.
As a recognisable industry figure, it came
as no surprise that EAW gave Scovill the
opportunity to do some evaluation of the Anya
system earlier this year at a big sound stage
in Hollywood. “I brought in some multi-track
material, my console and my FFT analyser and
spent a very long day with it. It was apparent
from the get-go that Anya is something very
special in that it first and foremost sounded
incredible, but was also going to be a game-
13
EVENT FOCUS: Tom Petty
Below: The monitor rack; The Crown amp rack; The visual design came via LD and Set Designer, Michael Brown.
changer for our industry with
regard to audio coverage for a
given seating geometry,” he said.
Taking a new system on the
road was always going to be risky,
and Scovill knew that there would
be challenges along the way. “I
knew I was going to be hanging
my tail out over the cliff with it a
bit because it hadn’t been tested in
the real world as far as day-to-day
touring goes.
“And we all know the old
saying, ‘when you choose to
push the envelope, sometimes
the envelope pushes back’. We
just have to be dedicated and
skilled enough to be able to
address challenges as they arise,”
he continued. Scovill is working
through the obstacles with the full
support of a hands-on team from
Sound Image, which looks after
the system on a day-to-day basis
and Systems Engineer, Andrew
Dowling, who he says is doing a
magnificent job.
Dowling is one of the newest
members of the crew, having only
started on the tour in July this
year. It is also the first time he
has worked with Scovill. “The PA
has a redundant Dante scheme
as the primary audio input and
distribution. Currently Dante
allows us to put multiple audio
feeds up to the PA and choose
which sources to use. Redundant
Dante allows us to have a digital
fail safe,” said Dowling, who is
supported by SL PA Tech, Chris
Houston.
“The Anya system has 22
drivers all equipped with amplifiers
and DSP. It solves the problem
of what to do if an amplifier
fails while the array is flown.
The Anya will adaptively heal
by reconfiguring its coverage so
the surrounding drivers cover
for it. The Anya doesn’t use its
DSP to point boxes at areas but
rather individual drivers. The EAW
Resolution software and the 22
drivers allow us to avoid seams
from gain shading. The gain
gradient is smooth because it has
22 drivers spread over the seated
area. Gone are the days where
gain shading between two and
three box circuits are audible.”
Dowling is impressed with a
number of features of the system
including the software, which
does a consistent job of tuning
and aligning the system without
14
multiple measurements. He also
likes the fact that the PA will
automatically roll off top end that
it can’t reproduce. For example
the PA can’t throw 16KHz 350ft
so it will low-pass all the high
drivers that are being thrown that
far. He also praises EAW for being
extremely responsive when it
comes to adding new features to
the software.
The US manufacturer has
also provided thorough back-
up support for the tour. “EAW
has been very keen to send
engineers out to evaluate the daily
workflows and performance of the
technology as we run it through
it’s paces and conversely we have
been very dedicated in sending
them, not only reports on how it’s
doing, but actual data in the form
of measured FFT magnitude plots
mapped against a seating chart
mic and positions so that they can
evaluate the performance. They’ve
reported that we’re actually
surpassing the lab predictions in
many cases,” continued Scovill.
On the tour so far, the system
has been providing consistent,
high quality audio to the farthest
seats in the house, there are
no cheap seats any longer with
this PA system. “On a personal
note, I think it’s fantastic to have
a company with the legacy of
EAW back in the concert sound
game again. This approach to
a PA system design is going to
make some serious waves - pun
absolutely intended,” said Scovill.
For FOH mixing Scovill turned to
a platform that he is very familiar
and very comfortable with, the
Avid MediaCentral Platform. “I’ve
been involved with the Venue live
sound environment project since
the very first days of conception,
so that is where my heart lies and
it is the technology with which I
want to work. I’ve been deeply
involved in the development of
it and I think it sounds fantastic
along with offering one of
the easiest and more intuitive
workflows for digital consoles that
is available today.” The Venue line
of consoles have the ability to use
plug-in processing and are able to
incorporate digital recording.
Another huge advantage of the
Avid system, according to Scovill
is the virtual sound check tool.
Since it’s inception - in the Avid
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EVENT FOCUS: Tom Petty
Below: Systems Engineer Andrew Dowling, SL PA Tech, Chris Houston and Crew Chief Marcus Douglas; Greg Looper on monitors.
revolutionised the way the band set up. Since
that first week of touring with the D-Show in
2005, Tom Petty and The Heartbreakers haven’t
had to perform a traditional sound check as the
tool takes away the need for it, which in turn
provides longevity and energy for a band of this
stature on the road.
“Above and beyond that, virtual sound check
is the tool for preparing your PA system for
the venue you are about to attack along with
evaluating what you are doing at the mix level
of the console. Because we are always using
the previous nights material, it’s dynamically
accurate and the most relevant source we could
possibly use short of the real band to set up
the tonality of the PA system or monitors and
evaluate their performance,” said Scovill.
“And if that was not enough, add to that the
fact that, for the Petty camp the virtual sound
check workflow actually morphed into the
method with which they record their records
now and you can see why it is so powerful and
why we think so highly of it in the context of
the Avid MediaCentral Platform.”
Scovill and the team also deployed an
extensive Madi distribution system on this
tour. He took a pair of Venue stage racks - that
capture all mic level signals from the stage - and
connected them to a standalone Venue FOH
rack outfitted with Madi cards, where the mic
16
level signals are pre-amped, converted to Madi
and then sent to an RME Madi router. Once
there they create multiple output streams to the
different console locations.
A total of 128 channels of fibre go to
the FOH position where it meets up with
another RME Madi router, and signals are then
distributed to the local Venue FOH rack and
two 128-track Pro Tools systems. A further
set of 128 Madi channels are distributed to
another RME Madi router located at the monitor
position, these are distributed to the Venue FOH
rack and Pro Tools system used for monitors.
A third set of both fibre and BNC outputs are
generated from the stage RME Madi router to
accommodate television and broadcast truck
interfaces.
“The streams that are delivered to the truck
offer all inputs, FOH group stems, two track
wet and dry mixes and all ambience allowing
them to use any combination to quickly
assemble mixes for the task at hand. Anyone
on the network can take remote control of the
main entry point pre-amp in order to make
adjustments that will affect all streams, but the
Venue consoles offer another +/- 20dB of fully
independent gain adjustment for mix levels,”
explained Scovill. “All main pre-amp settings
use a Venue feature called ‘gain guess’ to
facilitate making gain setting repeatable in the
event that input source levels would change.
This also provides identical recording levels for
all attached Pro Tools machines including any in
production trucks and ensures that all tracks are
completely interchangeable, securing complete
redundancy in post.”
In monitor world, Engineer Greg Looper
(who works closely with Monitor Tech Chuck
Smith) is in charge and has been working
alongside Petty and Scovill since 2005, although
he came across the band under different
circumstances many years before. Aged nine,
Looper bought his first record, Damn the
Torpedoes, but little did he know he’d be
working for that very artist all those years later.
Monitors are taken care of by an Avid Venue
D-Show, Looper described his admiration for
the console: “The interface into Pro Tools is
so seamless. We track everything. Every time
they pick up a guitar we are recording. Robert
and I did Tom’s first tour on Venue together.
During my time supporting Robert I had a great
opportunity to learn the console in depth.
There’s no better way to learn something new
than from one of the main guys who helped
design it. I still learn new tricks and tips from
Robert and other users, even now.”
Looper gets more than enough time to
practice with the desk, as the same system
has been installed in the rehearsal studio. Two
 GAME CHANGER

L A S A L O NDON
P E R 2 014
TO B
5-8 OC Hall 9
ExCel,

BRIGHT MULTI FUNCTIONAL LIGHT

EVENT FOCUS: Tom Petty
Below: James Towler, Steve Winwood’s FOH Engineer; Bernie Broderick from EAW checking in on the system; Avid desks were chosen for FOH.
studio albums and countless live
releases that have been recorded
through the Venue system in the
studio. “When you come and see
Tom and The Heartbreakers live
you are seeing them in the studio.
We record in the studio in exactly
the same way as the band plays
live. Same set up, same gear. There
just isn’t 10,000 plus people in the
room, maybe 10, including the
band,” continued Looper.
Electrotec PD-12 wedges are
the stage monitors of choice.
Looper controls a wedge mix
for every band member, as well
as three IEMs for Petty, Scott
Thurston and Benmont Tench.
“Scott and Benmont’s IEM mixes
are just for vocals and a few other
instruments. Not a full mix, as
most of the mix is built in the
wedge. Benmont and Scott only
use the IEMs when needed, most
of the time they rely on the wedge
mix,” explained Looper.
“For Tom, the wedge has just
vocals and his acoustic guitars, but
his IEMs have the rest band in the
18
mix too, it’s vocal heavy with a full
band mix behind. Tom’s wedge
mix balances out his IEMs so he is
centred when he sings. And he still
has a full mix in his ear when he
steps away from centre stage.”
The tour inventory features an
eight mix Shure 900 IEM system
and in total Looper is in charge of
coordinating 10 wedge mixes and
seven IEM mixes, which cover the
band, his cue and a possible guest.
Looking after all the touring
crew is Crew Chief, Marcus
Douglas, he has a number of
connections to this tour. Not only
has he been an employee for
Sound Image for many years, he
also has family history with many
crew members.
“My day-to-day routine involves
making sure all our audio crew
have what they need at load in
and throughout the day. I also
fly the SR side of the PA and help
make sure that we have the system
100% working for when Robert
is ready to start doing his time
aligning and tuning. Throughout

Below: EAW’s Anya in all its flown glory.
the day I help the guys on stage
and FOH if they need anything,” he
said.
So far the run has been great.
The biggest challenge was in the
beginning, when none of the
crew had even seen the system
before. The team soon realised
it was different and it needed
to be treated as such. Douglas
continued: “It was a fun challenge,
but now we feel very confident.
We have been blown away at how
good it sounds and the consistency
of the coverage night after night in
each of the different venues. It’s an
honour to work with a legend like
Tom and the great crew who have
represented him for many years.”
He concluded: “The reaction
to the Anya PA has been nothing
but positive news. Robert gets it
sounding amazing every night and
that helps. The comment I have
heard the most from people is how
great the consistency is throughout
the venue. People also can’t
believe we don’t have any subs
with the system. We don’t require
EVENT FOCUS: Tom Petty
them for our show as the system’s
low-end response is great for what
we need. I think as word gets out
and engineers start coming out to
listen to this rig we will be seeing
more and more Anya on many
engineer spec sheets.”
By the time TPi went to print,
the tour was deemed a success,
and Petty’s audio crew certainly
thought EAW’s new product
had done this respected artist
justice on the road. Scovill’s
seamless audio design was in turn
complemented by Hypnotic Eye’s
stunning visual entity, created by
Lighting and Set Designer, Michael
Brown.
TPi
Photos: Mirza Noormohamed
(Wandering Eye) & Jesse Adamson
www.tompetty.com
www.sound-image.com
www.eaw.com
www.avid.com
www.shure.com
www.rme-audio.de
19
 EVENT FOCUS: Nordoff Robbins

MUSIC TRANSFORMING LIVES

NORDOFF ROBBINS IS A NATIONAL MUSIC CHARITY DEDICATED TO TRANSFORMING THE LIVES OF
VULNERABLE CHILDREN AND ADULTS ACROSS THE UK. WITH EXTENSIVE SUPPORT FROM LEADING INDUSTRY
COMPANIES SUCH AS BRITANNIA ROW, JOHN HENRY’S, XL VIDEO AND THE AGENCY GROUP, THE CHARITY IS
MAKING A REAL DIFFERENCE TO THOSE SUFFERING FROM A VARIETY OF CONDITIONS INCLUDING AUTISM,
DEMENTIA, MENTAL HEALTH PROBLEMS AND STROKE INJURIES, AS SIMON DUFF FOUND OUT.

Eduardo was 10-years old when he first
came to Nordoff Robbins for music therapy.
He has Autistic Spectrum Disorder. From
an early age he had difficulties playing and
communicating with other children. He
had problems with physical mobility and
coordination. By the age of five he had no
friends and was behind at school. After
18-months of frustrating and distressing
assessment and tests, he was diagnosed
with autism.
“This was the beginning of a new phase
in our lives,” said Eduardo’s mother. In music
therapy Eduardo initially found it hard to express
himself freely. Gradually he began to let go.
He began to discover that it was good, safe
and exciting to express and share his feelings
in music. His mother continued: “Eduardo’s
development and progress through music
therapy has been astonishing. For him, the
world is a frightening, chaotic and confusing
place, but he absolutely loves music therapy.
Through singing and playing instruments
he has found ways to express himself freely
and communicate. He has let go of some of
his defences and the trusting bond he has
developed with his therapist has helped him
become much more emotionally stable. His
behaviour has improved and he is more able to
connect and communicate with others.”
Dementia has become a major focus of
work for Nordoff Robbins music therapists.
The number of people living with dementia,

20
 SPONSORED BY

JOIN US TOGETHER WITH PAST AND PRESENT BOXING CHAMPIONS FOR

A GREAT NIGHT OF BOXING TO RAISE MONEY FOR NORDOFF ROBBINS
MONDAY 24TH NOVEMBER 2014
LONDON HILTON ON PARK LANE
Tickets start from £180 or tables of 10 from £1,800
All tickets include champagne reception, three course dinner plus wine, entertainment and title fight boxing

For tickets and info email: rachel.hayes@nordoff-robbins.org.uk or call: 020 7428 9908
This evening is in aid of Nordoff Robbins and The London Ex-Boxers Association.
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1378 NR BOXING ADVERT 210X297.indd 1 17/09/2014 10:58

EVENT FOCUS: Nordoff Robbins
Previous page: The Loveable Rogues performed at the 2013 event. Below: Nordoff Robbins’ music therapy helps children with communication difficulties; Boxing promoter, Frank Warren and Chairman of
the Nordoff Robbins Fundraising Committee, Neil Warnock; Neil Warnock with former boxer, John Conte.
currently estimated at 820,000 in the UK, is
forecast to rise rapidly in the coming years.
Demand for Nordoff Robbins’ work in dementia
care homes across the UK is increasing. The
benefits of music therapy in dementia care
are widespread. It can motivate people with
dementia to participate in a meaningful
activity; it can elicit focused and meaningful
communication and interaction and thereby
reduce frustration and disorientation.
Nordoff Robbins music therapists are skilled
musicians, highly trained to use music to help
people in all kinds of places. The therapists
work in the Nordoff Robbins music therapy
centres which are located in North London
and Croydon, in schools, community centres,
hospitals and care homes. They also train
music therapists through the Masters Degree
Programme.
For 2014, once again Nordoff Robbins has
teamed up with Frank Warren and BoxNation
to host an evening of first class boxing on
Monday 24 November. This year the event is
moving to the prestigious London Hilton on Park
Lane. The night includes music entertainment
from classical singer, Rhydian Roberts, a three
course dinner, plus championship boxing that
will feature undercard matches and a highly
anticipated Title Fight. As with all Nordoff
Robbins boxing dinners, guests will be in the
good company of boxing champions past and
22
present as well as the recipient of the Nordoff
Robbins Boxing Icon Award.
At the 2013 event, guests enjoyed Title
Fight boxing featuring John Murray (former
British / European Champion), Simon Valily
(Commonwealth Games and ABA Champion),
Joe Selkirk and Bradley Saunders, and a
performance from the Loveable Rogues, all
hosted by Strictly Come Dancing star, Anton
du Beke. In 2013, it raised £40,000 for Nordoff
Robbins. Money is also raised on the night for
The London Ex-Boxers Association.
A significant amount of Nordoff Robbins’
annual £3m income is generated from events
and the charity receives support from figures
right across the music industry. The boxing event
is organised by a committee of senior people
from organisations including The Agency Group,
Brittania Row and XL Video. XL Video offers its
support by providing audio-visual equipment
for events such as the Boxing Dinner. Lee
Spencer, Managing Director at XL Video sees a
real synergy between their services and what
Nordoff Robbins does, and this is what sparked
and has maintained their continued involvement
with the charity: “We choose to support
Nordoff Robbins music therapy to enable others
to grow and thrive through the power of music.
I’ve been lucky enough to attend not only some
of their events, but also to visit the Nordoff
Robbins HQ in London to see the work first
hand. It really brings home how powerful music
therapy is. Music is such a fundamental part of
what we do and we all recognise how big an
impact it has on peoples’ lives, there’s a direct
connection between that and giving therapy
through music, so supporting Nordoff Robbins
was an easy choice for us. Personally, I think it
is important to support charities that you have
a connection with. In our case, we’re involved
in the production of live events and particularly
music, so working with Nordoff Robbins feeds
back into that. The boxing dinner for one, is
so important because it enables the charity to
extend outside of the world of music, to engage
with sports people and their connections,
exposing the charity’s work to a much wider
audience. XL has been a sponsor of this event
and gets involved wherever possible.”
Bryan Grant at Britannia Row, said of Nordoff
Robbins. “The extraordinary work they are doing
helps their clients communicate and develop,
in what must be an incredibly confused world.
From just one visit to the music therapy centre it
is clear that the music therapists are not doing
this for glory or money, but are doing it to make
a difference to these people’s lives. They are
such kind, caring individuals, doing great work.
Nordoff Robbins rely on the support of others to
keep their great work going, that’s why it is so
important for companies like ours to help them.”
Similarly, John Henry, of specialist
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EVENT FOCUS: Nordoff Robbins

Below: The Nordoff Robbins Boxing Dinner takes place on November 24 at the London Hilton (Park Lane); Pharrell Williams and U2’s Bono attended the Nordoff Robbins O2 Silver Clef Awards in July 2014.

entertainment suppliers John the Fundraising Chairman in

Henry’s also saw a connection
between his business services and
Nordoff Robbins. He said: “I was
asked to help out by committee
members Robbie Wilson and Neil
Warnock on the production side
of the very first boxing event, and
have been totally involved ever
since; we all need to help out
as much as we can to support
anyone that is in need and music
therapy is a great way to help.
Events like the boxing dinner
brings awareness to everyone that
attends, and spreads the word.”
For events such as the
boxing dinner, John Henry’s has
supplied production and stage
management, audio and lighting,
technicians and crew, as well as
helping to source auction and
raffle prizes such as signed guitars
and boxing gloves from some of
its esteemed clients. Neil Warnock,
Founder and Worldwide President
of The Agency Group has been
a supporter of Nordoff Robbins
for over 40 years. He became
September 2013. He said: “I have
supported Nordoff Robbins for
nearly 40 years, and in September
of last year I had the honour
of becoming their Fundraising
Chairman which I am delighted
about. I feel that as a music
industry, we owe it to Nordoff
Robbins and the thousands of
people it has helped with music
therapy to continue supporting the
incredible work and to help them
use music to give something back.”
He concluded: “For the people
Nordoff Robbins work with, music
is their lifeline, and their medicine,
and as a music industry it is up to
us to support their work.”
Tickets for the Frank Warren
BoxNation on November 24 at
London Hilton Park Lane can be
purchased through Rachel Hayes:
rachel.hayes@nordoff-robbins.org.uk
TPi
Photos: Paul Meyler,
Dean Fardell, John Marshall
www.nordoff-robbins.org.uk
@nordoffrobbins1

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24
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 EVENT FOCUS: KOI 2014

KOI 2014 IS ON TRACK FOR A SPARKLING

CELEBRATION OF LIGHTING AND VIDEO DESIGN
THE 7TH KNIGHT OF ILLUMINATION AWARDS HAS ONCE MORE SEEN RECORD SUBMISSIONS FOR THE
TITLE OF OUTSTANDING LIGHTING AND VIDEO DESIGN IN THE SECTORS OF TV, THEATRE AND CONCERT
TOURING AND EVENTS. COMBINED WITH THE FACT THAT INDUSTRY SPONSORSHIP AND SUPPORT FOR
THE EVENT IS AT AN ALL TIME HIGH, IT’S CLEAR THAT THE KOI 2014 WILL BE THE MOST COVETED
INVITE OF THE AUTUMN SEASON.

The KOI Awards, organised by Clay Paky OPERA DRAMA

alongside the Society of Television Lighting
Designers (STLD), the Association of Lighting
Designers (ALD) and Ambersphere Solutions,
will be held following the first day of the
PLASA Show on the evening of Sunday 5
October at London’s fabulous Art Deco
Troxy Theatre.
Submissions for each sector are now closed
and the shortlist of nominations for each of
the sector categories have been agreed by the
judging panels as follows:
THEATRE NOMINATIONS
DANCE
Natasha Katz - The Winter’s Tale, Royal Ballet at the
Royal Opera House
Paul Keogan - No Man’s Land, English National Ballet
at The Barbican
Ed Yetton - The Little Match Girl, Arthur Pita at
DanceEast, Ipswich
MUSICALS
Jon Clark - American Psycho, The Almeida
Paule Constable - The Light Princess, Lyttelton,
National Theatre
Adam Silverman - Urinetown, St. James Theatre
Joachim Klein - Bluebeard’s Castle, Oper Frankfurt at
Edinburgh Festival Theatre
Ian Scott - Owen Wingrave, Snape Maltings
Mimi Jordan Sherin - Rodelinda, English National
Opera at the Coliseum   EVENTS
PLAYS
Lucy Carter - Emil and the Detectives, Olivier,
National Theatre
Tim Lutkin - The Crucible, The Old Vic
Andy Purves - The Believers, The Drum at Theatre Royal
Plymouth and touring    Hugh French - Channel 4 News
VIDEO
David Haneke - The Fall of the House of Usher, Welsh
National Opera
Tim Reid - 1984, Nottingham Playhouse and touring
Ethan Wang - Rice, Cloud Gate Theatre Dance Theatre
of Taiwan, Sadler’s Wells 
TV NOMINATIONS
ENTERTAINMENT
Oli Richards - Jonathan Ross
Tom Sutherland - Britain’s Got Talent Auditions
Chris Rigby - Alan Carr Chatty Man
David Higgs - The Escape Artist
Martin Kempton - Not Going Out
Chris Ramage - Emmerdale The Flood
Ben Cracknell - The Olivier Awards
Nigel Catmur - Children In Need Rock
Al Gurdon - Winter Olympics Opening Ceremony
SMALL STUDIO
Dave Evans - The One Show New Studio
Lee Allen -Blue Peter
GRAPHICS
Sam Murphy/Dave Gibson - BT Sport
Ruben Garcia - Children In Need Rock
Luke Halls - Don Giovanni
 
CONCERT TOURING NOMINATIONS
ARENA
Andy Hurst - Prodigy
Cate Carter - Elbow
Chris Bushell - Arcade Fire

26

Opposite: Last year’s event took place at London’s ExCeL. Below: This year’s event will take place at The Troxy; Clay Paky organise the awards; Pio Nahum, Chief Commercial Officer for Clay Paky; The
Concert Toruing & Events Award was highly anticipated last year; The event room just before opening.
STAGE
Jonathan ‘Leggy’ Armstrong - Basement Jaxx
Rob Sinclair - Goldfrapp
Will Potts - Disclosure
EVENTS
Jonny Milmer - Jaguar
Luc Peumans - Peter Pan
Matt Button - Castrol
VIDEO GRAPHIC DISPLAY
Cate Carter, Paul ‘Pablo’ Beckett, and Blue Leach -
Elbow
Chris ‘Squib’ Swain, Anna Ginsberg and Adam
Young - Bombay Bicycle Club
Gabriel Coutu-Dumont - Justin Timberlake
John Kricfalusi - Miley Cyrus
In addition, the lighting indsutry’s support
for the Knight of Illumination event has
flourished with 2014 seeing the welcome
addition of table sponsors from every part
of the industry including A.C. Entertainment
Technologies, Avolites, Chauvet Professional,
Creative Technology, d3 Technologies, ETC, Fix8
Group, Gallowglass, Gearsource, Green Hippo,
HSL, Martin Professional, Philips Entertainment,
Pharos, PLASA, PRG, Rosco, Stage Electrics,
EVENT FOCUS: KOI 2014
TMB, TSL and Wireless Solution alongside will be presented to an individual whom the
the main sponsors - Hawthorn, MA Lighting, KOI committee feels has made an outstanding
Osram, Robert Juliat and XL Video. impact on the industry. Previous winners include
  This increased level of sponsorship is Lighting Designer Richard Pilbrow in 2011,
further testament, if it were necessary, to the Bryan Leitch in 2012 and Ian Dow in 2013. The
popularity and independence of the Knight category is named in recognition of former
of Illumination Awards: “Every year for seven Clay Paky Commercial Director, Enrico Caironi
years we have looked forward to welcoming (1947 - 2011), whose inspiration and enthusiasm
lighting professionals from all sectors of created and subsequently shaped the Knight of
the entertainment lighting world to join Illumination Awards.
“This increased level of sponsorship is further testament, if it were
necessary, to the popularity and independence of the Knight of
Illumination Awards”
us in recognising the outstanding creative   Attendance at the ceremony is by invite only.
achievements of lighting, and now video, The Knight of Illumination is proudly supported
designers on productions in the UK,” said by The Association of British Theatre Technicians
Pio Nahum, Chief Commercial Officer for (ABTT); ET Now, Total Production International,
Clay Paky. “With such an extraordinarily high Lighting and Sound America, Lighting and
standard of submissions we’re expecting to Sound International, PLASA and The Theatres
showcase the highest level of talent this year.” Trust.
As is tradition, in addition to the TV, Theatre TPi
and Concert Touring and Events Awards the
Enrico Caironi Award for Lifetime Recognition www.knight-of-illumination.com
27
 EVENT FOCUS: Bad Uncles

BAD UNCLES REUNITE AT HOCKENHEIMRING FOR

ONE OF THE LARGEST LIVE CONCERTS IN THE WORLD
GRITTY, NOSTALGIC AND EVOCATIVE ARE JUST SOME OF THE WORDS USED TO DESCRIBE ONE
OF THE LARGEST LIVE CONCERTS STAGED THIS CENTURY, TPi CHECKED OUT WHAT MADE THE
BAD UNCLES ROCK IN THEIR HOME COUNTRY OF GERMANY.

This summer saw one of the world’s
most prestigious Formula One racing
courses, the Hockenheimring, play host
to an event unlike any other it had seen
before. Spanning two nights, 200,000 fans
gathered to witness German rock group
Böhse Onkelz (or Bad Uncles) command the
largest stage ever built in Europe for their
first live set in nine years. Crowds were
whipped into a frenzy by a colossal melting
pot of lighting and video that included
1,500 lghting fixtures and hundreds of
square metres of LED screens, making this
one of the biggest reunions of recent years.
LIGHTING AND SET DESIGN
At the helm, when it came to the show’s vast
architectural lighting concept, was well-
respected German Show and Lighting Designer
Jerry Appelt. “Nine years ago the Uncles
performed two other huge sold out concerts
at the Euro Speedway Lausitz, with a typical
open air set up,” Appelt explained. “For this
new show they wanted a completely different
look and feel and we gave it to them.”
That different look turned out to be
Appelt’s dramatic vision of the Frankfurt city
skyline replete with high rise towers. The set
is sculpted from four vast towers positioned
downstage, upstage and in the side wings.
Supplied and built by Stageco it is further
embellished by a catwalk and B-stage, which
acted as a jetty into the vast sea of fans.
“The sheer size of the venue made it
important to bring the band closer to the
audience. It also helped add to the 3D
experience of the set. It was totally new
for the band as they had never played on a
B-stage before, but they used it to perform the
acoustic portion of the show and it worked
really well.”
Lighting and video equipment was supplied
by PRG. The floor package on the B-stage
mainly comprised GLP Impression 90s, X4s

28
 EVENT FOCUS: Bad Uncles

Opposite: 200,000 fans gathered to witness Bad Uncles’ first live set in nine years; An MA Lighting grandMA console was at FOH. Below: Lighting Designer, Jerry Appelt created the set featuring the
Frankfurt city skyline replete with high rise towers; Lighting and video equipment was supplied by PRG.

and X4 XLs, which lit the edge of the catwalk
alongside Clay Paky A.leda B-Eye K20 fixtures.
“The floor of the B-stage was covered by
B-Eyes,” said Appelt. “It was my first time using
them for an outdoor event and I was really
impressed. I used some of the B-Eye effects as
eye candy, but I’m also really impressed that,
effects aside, it works so well as a basic lighting
tool.”
More Clay Paky fixtures made up the floor
package on the main stage, with Appelt
deploying the “really great output” of 80
Sharpys for set lighting, integrating them with
the visual content.
Working in combination with these were
PRG’s Best Boys, which were rigged on the front
edge of the towers. Ninety-eight PRG Bad Boys,
of which Appelt is a big fan, also featured: “PRG
Bad Boys are great workhorses, they’re really
powerful and I like their colour temperature
because it’s not too cold. They’re great for
outdoor events.”
As the show was such a momentous
occasion in German music history, the entire
three hour set was filmed for DVD and Blu-
Ray, directed by Michi Mayer. Appelt used
216 powerful Philips Vari-Lite VL3500 Wash
luminaires to illuminate the audience for the all-
important crowd reaction footage.
The show was programmed and run from a
MA Lighting grandMA console. Appelt worked
alongside Lighting Director and Programmer
Marc Brunkhardt, Searchlight Operator

Visit us at stand
M10 & M20
at 5-8 OCTOBER 2014 - ExCeL

Arcadia LSI Ad 136h x 190w.indd 1 11/09/2014 14:14

29
EVENT FOCUS: Bad Uncles
Below: 302sq metres of PRG 18mm Pixelpitch LED screens and 282sq metres of PRG 30mm Pixelpitch LED screens provided the visual backdrop; The concert’s production team; The gig took place at the
prestigious Formula One racing course, the Hockenheimring.
Sebastian Huwig and Audience Light Operator
Sascha Matthes: “The grandMA was my choice,
but really it’s the unanimous choice of our
team,” said Appelt. “We work exclusively on it,
as it’s so important in terms of networking.”
During the eight-day pre-programming and
rehearsal stages, Appelt was also able to use the
grandMA desk, alongside the Avolites Media
Ai S8 Media server, to give the band a very-real
idea of what the impending show would look
like: “We created a 3D set-up of the lighting
fixtures on the grandMA and a 3D set up of the
LED video screens on the Ai S8 media server,
and combined both into a common picture so
the band could see the full show, video and
lighting, in a virtual environment. That was
definitely a big advantage prior to the whole set
up.”
VISUALS
Working alongside Appelt was Roland Greil,
of maverick design consultants Einstein and
Sons and the show’s Ai media server supplier
and operator. Alongside his colleague Thomas
Döhring, Greil agrees that the pre-visualisation
was a huge benefit in the process: “It was
fantastic being able to have all the LED surfaces
and screens in the right position in the virtual
30
world, so the band could see what it would look
like in reality.”
For Appelt and Greil it was also important to
create a cohesive look for each element of the
show and so it was crucial to seeing the bigger
picture. “This is the reason we controlled the Ai
media servers with the grandMA console,” said
Greil. “Video cues can be linked to the lighting
cues and vice versa. Jerry also had a fader wing
at his position so he could instantly have some
influence on the feeds to the LED walls.”
When the day of the show came, three of
Avolites Media’s S8 HD Media servers were
ready for action. Arran Rothwell-Eyre from
Avolites worked with Greil during the first
week of pre-production and for six days on
site for pre-show set up. Greil commented that
everything went off without a hitch: “The Ai
worked fluidly, it’s a fantastic tool.”
As the band swaggered on stage to the
excited roar of the audience, the Ai media
servers brought the LED video screens to life
with content designed by Markus Hollman-
Loges from edgy German design studio Blitzen.
Since the early days, the Blitzen team have
been designing the band’s graphics and album
artwork and so, unsurprisingly, delivered
nostalgic and evocative visuals that reflected the
band perfectly. These were also tinged with the
gritty, moody feel of the graphic novel ‘Sin City’,
in keeping with the remarkable skyline set and
Appelt’s vision.
“Ai media server number one was the
main workhorse and had two active outputs,”
explained Greil. “The first was the feed for the
four big downstage towers, whose screens
displayed the live feed as well as the graphics.
The second was for all the other LED towers,
including the upstage towers and towers on
either side of the stage.”
The video on the four main downstage
towers comprised 302sq metres of PRG 18mm
Pixelpitch LED screens, whilst the upstage
and sidewing towers were made up of 282 sq
metres of PRG 30mm Pixelpitch LED screens.
The second Ai media server functioned as an
IMAG feed, allowing Volker Scherz to choose
which footage to display on the seven hi-res LED
IMAG screens; whether it be the footage passed
on by the feed or live video from the multiple
camera-operators lined up, front-of-stage.
Between the two primary servers, they “handled
quite a number of layers of content in total:
on three outputs we had six layers of graphic
content”, said Greil.
As a lot of the show’s visuals relied heavily on
Uniting the
audience

As a FOH engineer and

master of ceremonies,
you want the entire
audience, front to back,
in tune with your mix.
Every lyric, symbol, bass and
high note in glorious definition.

So do we.

That’s the Martin Audio

Experience.

Unite your audience at

www.martin-audio.com
EVENT FOCUS: Bad Uncles

Below: The Avolites Media Ai Media Servers at FOH.

live camera feeds, the Ai media servers’ latency needed to

be up to scratch. “I think we had about 1.5-2 frames latency
with the Ai servers, which was excellent,” he said. On top
of everything else, the second server also pixel mapped the
show’s 323 SGM LED baton lighting fixtures, routing all six
packs from the lighting system into the content to generate
one big look over everything. Greil and Döhring also used
the servers to alienate the live feeds from 26 cameras and
add texture or other colours to get creative views of the
camera feeds. “It was great to have this node-based system,
because Thomas was able to develop his own effects. On
top of the Ai Media servers’ incredible power and ability to
handle a show of this size with no malfunctions whatsoever,
the versatility in customisation they offered was fantastic.”
So, after such a colossal reunion show, what’s next for
the Bad Uncles? “Now we start planning for next year - the
band wants to come back with something spectacular,” said
Appelt, as if the Hockenheimring was just a warm-up. If
that’s the case, we can’t wait to see what he comes up with
next.
TPi
www.onkelz.de
www.einsteinandsons.com
www.stageco.com
www.prg.com, www.claypaky.it
www.malighting.com
www.avolites.com
http://sgmlight.com
www.vari-lite.com

32
From.
www.dbaudio.com
To.

Spanning from performing arts to conferences, religious events and live shows, a
Series which can do everything because it’s a complete and coherent package:
embracing loudspeakers, subwoofers, mounting and rigging accessories, amplifiers,
cases, carts and racks. From. To. In the very best sense: the d&b Y-Series.
 EVENT FOCUS: d&b audiotechnik
NOT JUST ANY OLD WORKHORSE:
THE ABSOLUTE Y-SERIES FROM D&B
THE NEW Y-SERIES FROM D&B AUDIOTECHNIK PROVIDES FLEXIBLE AND CONFIGURABLE
SOLUTIONS FOR ANY SMALL TO MEDIUM SIZED SOUND REINFORCEMENT REQUIREMENT,
WHATEVER THE APPLICATION STYLE.
While the Y7P and Y10P loudspeakers cover
point source duties, the B6-SUB provides
extended frequency response, and two
line source loudspeakers and a matched
cardioid subwoofer, the Y8, Y12 and Y-SUB
tackle line array tasks. Echoing the d&b
audiotechnik V-Series and utilising patented
three point rigging, the Y-Series is all new,
yet strangely familiar.
The Y7P and Y10P loudspeakers share the
same dipolar eight-inch driver arrangement
centred on a 1.4-inch compression driver fitted
to a rotatable CD horn, facilitating deployment
horizontally or vertically. With dispersion
characteristics of 75° by 40° and 110° by 40°
(h x v) respectively, the Y7P and Y10P offer a
multitude of deployment options, individually
as a full range system or in combination with
34
other elements from the Y-Series, either ground
stacked or flown. An advanced port design
delivers extended LF performance down to
59 Hz. The B6-SUB complements the Y7P and
Y10P, with a single 18-inch driver built into a
bass-reflex design, extending the frequency
response down to 37Hz.
The Y8 and Y12 loudspeakers are compact,
configurable and easily recognisable as the
latest members of the d&b audiotechnik
line array family. Utilising the same rigging
design as their bigger brothers from the
J-Series and V-Series, the Y8 and Y12 also
share the same 80° and 120° horizontal
dispersion characteristics. The Y8 and Y12
can be suspended in columns of up to 24
loudspeakers with splay angles from 0º to
14º with a 1º resolution. The Y-SUB houses a
forward facing 18-inch driver and a 12-inch
driver radiating towards the rear, producing a
cardioid dispersion pattern. Driven by a single
amplifier channel, the compact Y-SUB can be
groundstacked or flown at the top of a Y8 /
Y12 array. Both the point source and line source
loudspeakers feature two 8-inch drivers with
neodymium magnets mounted in a
dipolar arrangement around a 1.4-inch
compression driver. This driver configuration
enables the Y8 and Y12 to offer a horizontal
dispersion pattern controlled down to 500Hz.
An extensive range of transport solutions and
loudspeaker accessories facilitates ease of setup
and mobility.
Whilst the Y loudspeakers are designed
to provide flexible, mobile solutions, on the
other hand the Yi installation specific versions
 EVENT FOCUS: d&b audiotechnik
Opposite: The Y-Series in all its glory. Below: Product Manager, Werner ‘Vier’ Bayer.
are designed for permanent
applications, differing only in
cabinet construction and mounting
hardware. Special colour and
weather resistant options provide
further visual integration and
positioning possibilities.
The Y-Series assimilates into
the d&b audiotechnik workflow
comprising the ArrayCalc
simulation software, the R1
Remote control software and
d&b audiotechnik amplifiers;
a process ensuring consistent
and efficient results whenever
and wherever required. A
multitude of line and point source
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within ArrayCalc, providing a
graphical representation detailing
the coverage, level drop and safety
aspects of a system setup in a
given space.
The R1 export function
transfers all configurations and
settings from this simulation into
an R1 Remote control project
On the road…
with the right material
■ Robust stagebox-systems
■ Flexible, tough multipair-cables for permanent use
■ User-friendly cable solutions
■ Customer oriented manufacturing
■ Big stock and fast delivery
HD-BaseT extender
max. 100 m
MADI connection
systems
file, taking into account any
system specific functions. The R1
workplace presents an intuitive
format for operating systems via
the d&b audiotechnik Remote
network, either through CAN- Offroad fibre system,
Bus to access the D6 and D12 IP68 protection class
amplifiers, as well as the D80,
which can also be controlled
through Ethernet using OCA
protocols.
“Since the Y-Series combines
both line and point source Cologne, Germany
technologies, the application 20 – 23 Nov. 2014
Booth 2-12
possibilities are endless,
ranging from performing arts
to conferences, religious events YOUR UE !
and live shows,” said Product ORDERREE CATALOG
Manager Werner ‘Vier’ Bayer. COS T F
“This has been an exciting and
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line source, Y-not?” Audio ■ Video ■ Broadcast ■ Media Technology ■ HiFi
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35
b92,5x277_BV_EN_TMT_M1_140911.indd 1 11.09.2014 15:37:47
 EVENT FOCUS: Edinburgh Fringe

EDINBURGH FRINGE FESTIVAL

THE EDINBURGH FRINGE FESTIVAL TAKES PLACE ANNUALLY EVERY AUGUST FOR THREE WEEKS IN
EDINBURGH, SCOTLAND. IN 2014 THERE WERE 49,497 PERFORMANCES OF 3,193 SHOWS IN 299 VENUES,
ATTRACTING MORE SPECTATORS THAN EVER SINCE ITS INCEPTION 67 YEARS AGO. INCLUDED IN THE
SPECTRUM OF PERFORMANCES ARE THEATRE, COMEDY, DANCE, CABARET, CHILDREN’S SHOWS, MUSICALS,
LIVE MUSIC, SPOKEN WORD PERFORMANCES AND EXHIBITIONS. TPi WENT TO THE FRINGE AND SAMPLED A
MERE FRACTION OF THE ACTION ON OFFER BACKSTAGE.
The Fringe has come a long way since its With a three-man team on a kitchen truck, The Pleasance originally used a SmartFade -
humble beginnings in 1947, when eight lunch and dinner were served to a total of over ETC’s simplest and smallest console - in one of
theatre groups broke off from the newly 1,700 covers. their spaces. But when Calder Sibbald at ETC’s
established Edinburgh International Festival Olivia Morris, Eat to The Beat representative, Edinburgh-based dealer Black Light, offered a
- an initiative created to celebrate and enrich commented: “In such a beautiful city, it was Nomad Puck for use instead, they were keen to
European cultural life in the immediate years worlds away from the usual settings of arenas give it a try, especially given the extra power it
after the Second World War. These groups and grassy fields - the crew had a great time!” would bring.
on the ‘Fringe of the Festival’ set an example Lunch and dinner served every day included Over at the Forth Children’s Theatre,
that others have built upon since. Due to the freshly made soup, a choice of three hot meals lighting designer Grant Anderson, who had
sheer mass of venues and performances on served with salads and dessert. programmed the lighting for two Edinburgh
offer at the Fringe, it simply isn’t possible “It’s the first year that Eat To The Beat has shows on an ETC Ion, was delighted when he
to cover everything from a production worked on the Fringe festival and hopefully it’s could upload his show file to a Nomad Puck,
perspective. Alas, we managed to see a the start of an on-going relationship. I received while the other could remain on the Ion.
selection of production offerings from a phone call from the BBC and it went from “I already had the Eos show files for Les
several key companies involved with the there - we are delighted to have been asked!” Misérables,” he commented. “So it was a great
2014 Fringe. relief when I was able to replot using just a
ETC touchscreen, keyboard and mouse plugged into
EAT TO THE BEAT ETC’s recently introduced Nomad Puck - a tiny the side of the Puck, which was hidden out of
Eat to the Beat was in Edinburgh for the month self contained computer which takes the place view to save space.
of August providing the BBC’s coverage team of either an Eos family or Cobalt family lighting “We were using 12 moving lights, as well as
with meals to keep them fed over the duration desks - made a name for itself at the Pleasance 30 ETC Source Four LED Lustr+ fixtures, which
of the festival. Theatre at this years’ Edinburgh Fringe Festival. the Puck handled really well. As a designer,

36

Opposite: Casino Scene from Lou Stein’s production of Fear and Loathing in Las Vegas at the Pleasance Theatre. Below: Hawthorn supplied the Universal Arts theatre company.
the new Eos software made it really simple to
program with, even during the dress rehearsal.”
For users who have their own computer, Nomad
Puck’s sibling, simply called Nomad, is even
lower in cost and plugs into a spare USB port on
the PC or Mac, and performs exactly the same
functionality as Puck.
HAWTHORN
Universal Arts chose Hawthorn as its technical
supplier to deliver everything that the
Edinburgh-based producers needed across its
venues to ensure award-winning performances
at the New Town Theatre and Hill Street
Solo Theatre and, this year, the Edinburgh
International Conference Centre.
EVENT FOCUS: Edinburgh Fringe
The fit out included 500-metres of Prolyte truss
(S36R And X30V), Prolyte Litedeck staging
and over two miles of socapex and cable. The
lighting elements were just as impressive with
Hawthorn supplying over 300 lighting fixtures
including Clay Paky Alpha Spot 700s and over
200 dimming channels - Avolites Art2000
48way / Avolites power cube and 14 DPA4099s.
The audio equipment chosen to ensure the
clarity of performances included Martin Audio
XD12 loudspeakers; Wavefront 2 loudspeakers;
and S2A subwoofers, d&b audiotechnik E3
loudspeakers and Yamaha LS9 mixing consoles.
Stephen Reed, Hire Manager at Hawthorn
commented: “supplying Universal Arts was an
exciting project to be involved with. From the
outset we wanted to supply the best service
and value. This was mostly achieved by giving
Universal Arts a dedicated point of contact.
Having someone at the end of the phone
proved very important. Hawthorn was able to
offer a high level of support that was extremely
well received by our client, Universal Arts.
Through three months of planning that included
talking through all the different international
shows, production details and equipment
needs, we ensured a smooth, professional and
cost-efficient installation process. Everything
we supplied worked for Universal Arts and its
37
EVENT FOCUS: Edinburgh Fringe
Below: The Polo Lounge scene, Fear and Loathing in Las Vegas. XL Video supplied a selection of Panasonic projectors and Dataton media servers to create projected scenery in several scenes.
theatre, dance and music artists.
The planning process has already
started for 2015.”
Neil Foulis, Technical Manager
at Universal Arts’ New Town
Theatre, stated: “Hawthorn has
been an excellent resource for
Universal Arts, and instrumental in
helping us push the boundaries of
quality and scale of performances
at the Fringe Festival, from theatre
and dance to circus performance.
I look forward to building on the
excellent working relationship
created with Hawthorns, and
further explore the possibilities of
what we can do in our venues.”
WHITE LIGHT
White Light supplied lighting
hire and production support for
The Gilded Balloon venue at the
festival. The complete package
included lighting and effects
equipment, power distribution and
control and staging and rigging
equipment totaling just over
38
15-tonnes as well as advice and
on-site training for the venue’s
technicians.
Planning for the 2014 Fringe
began months in advance with
White Light Business Development
Manager Craig Bennett working
closely with Gilded Balloon’s
Production Manager Stephen
Arnold and Head of Lighting
Martin McLachlan to confirm
requirements and plan logistics.
Established in 1986, The
Gilded Balloon has grown from a
one-studio theatre into one of the
festival’s largest venues. With nine
performance spaces, the venue
hosted up to 100 performances a
day during the 2014 festival. While
more space is an advantage for
both producers and performers,
the venue was also keen to reduce
environmental impacts. This year,
through equipment supplied by
White Light, the venue was able
to switch some of its performance
spaces to LED lighting which draws
less power and creates significantly
less heat than conventional
alternatives. LED products in
the venue included profiles,
washes, and battens from lighting
manufacturers Altman, Chroma-Q,
Coemar, ETC, and i-Pix.
While it is known mostly
for comedy acts, The Gilded
Balloon also hosts a wide range
of performances from children’s
shows to physical theatre. Several
award winning performances came
from the venue during the 2014
festival including The Collector
which won the Scotsman Fringe
First Award.
In addition to supplying The
Gilded Balloon venue, White
Light also provided support
to productions at the festival
in the form of individual hire
contracts and consumable sales
items (colour, tape, gobos, and
accessories). Also supplied were
a selection of Martin Professional
MAC 101s, 700s and Auras;
numerous ETC SourceFour profiles
(19, 36, 50, 70) and SourceFour
Junior profiles, in addition to
a Robert Juliat Followspot. An
Avolites Pearl Titan lighting console
was also supplied for the venue.
StageDex decking, legs and
railings were custom sized for the
venue. Furthermore, Lodestar
Chain Hoists and Controllers were
employed, in addition to a ProLyte
pre-egged truss system (300 eggs).
Craig Bennett commented:
“White Light has always supported
theatre and theatre makers with
the production tools and advice
they need - wherever they go.
We were thrilled to be involved
this year in Edinburgh on both
large and small scales. The festival
represents the thriving creativity
and originality of our growing
entertainment sector and we were
happy to be a part of it.”
XL VIDEO
XL Video was involved with 53
companies across nine sites and 30
venues at this year’s festival. One
of the main venues at this year’s
Fringe that XL Video was involved
with was The Pleasance Theatre in
Edinburgh’s east end, a venue with
23 different performance spaces.
The cultural platter on offer at
The Pleasance was impressive -
enough for a festival in itself. This
year was an extra special year
for the Pleasance Theatre, which
celebrated its 30th anniversary.
“We’ve been up there for
five years as a sponsor for The
Pleasance Theatre and the last two
years we sponsored C Venues too.
Before that we supplied many of
our regular clients so extending
our involvement to help the
EVENT FOCUS: Edinburgh Fringe
Below: ETC’s Nomad Puck lighting controller made a name for itself at the Pleasance Theatre at this year’s Edinburgh Fringe Festival.
Pleasance Theatre group and reach
out to other companies seemed
an good idea,” said Ed Cooper,
project manager at XL Video. “XL
Video supplied a whole rafts worth
of video equipment, including
Panasonic DZ6710, DX100, DS100,
DZ1200 and DS20K Projectors.
Panasonic are the smallest, most
lightweight and quietest for
theatre, and we rely on their range
extensively.” Computing and
relaying the mass of visual content
for the hundreds of different plays
were equally varied and included
Catalyst Media Servers, 
Q-Lab
systems and for Fear and Loathing
in Las Vegas, Watchout media
servers from Dataton.
“XL Video are on site for six
weeks altogether. One week prior
to 
set up we have to ensure all
the projectors, media servers and
all video elements are in place. Of
all the individual set ups which we
do, they each present their own
logistical and technical challenges.”
There are certain shows, which
were running prior to appearing
at the Fringe - Fear, and Loathing
in Las Vegas had been running in
London, for example, and we were
working on the show there.
“In the past, visiting companies
wanted to bring their own gear
from home however more and
more companies are starting to
approach us as they realise that the
benefit of onsite 24 hour technical
support with a fully equipped stock
of spare pro grade equipment gives
them the safety net that video is
one less thing for them to worry
about.”
Owen Evans, XL’s key Fringe
technician , commented: “I started
off in lighting and as lots of us
end up doing, I moved over to
video. The boundaries are very
much blurred. Video used to be
its own separate entity - it used
to be farmed out by the lighting
guys to some non-present third
party video guys. But now with
everything becoming bigger and
more intertwined, it becomes
very difficult to try and separate
them, so it does merge into one
department. On many shows it
becomes impossible to separate
the two.”
With several of the
performances which XL is involved
with at the Fringe, video projection
is employed not only as a source
of light but as a key component
40
of the mise en scene. This use of
video was no more apparent than
in Lou Stein’s production of Hunter
S Thompson’s classic Fear and
Loathing in Las Vegas.
Continued Evans: “The set of
Fear and Loathing is very minimal.
The way the projection is used is to
create environment and to suggest
environment. If you’ve seen the
film or read the book, then you
can get a better idea of what Ralph
Steadman (Set Designer) is trying
to achieve. The environments
portrayed are not realistic; the
video gives a surreal feel to the set
and this contributes to the drugged
effect that permeates throughout
the play.”
There are five different shapes
which make up the back wall of
the stage, onto which various
images are projection mapped,
thus creating a very fragmented
feel to the whole experience rather
than a big solid set. There are very
few physical scenic elements.
“It would be a very different
show without the video - certainly
much harder to visualise these
things. Using video content to
provide scenic backdrop is the
perfect solution to the high
turnaround of plays on at the
fringe.”
There is, according to Evans,
another reason for the recent surge
in using video in shows: “Audiences
are starting to expect video now.
People want to see video in the
show. What does video mean to
the general public going to see a
show? A couple of years ago, the
average Joe would have thought
you were on about VCR if you’d
have mentioned video on stage
and would have been flummoxed.
Whereas now, the average Joe is
talking about the projection and
video and commenting.
“In the pleasance courtyard,
there’s a big wall we project onto,
the archway where you walk in.
We have a content designer called
Theo Davies who has worked with
us for the last few years and has
put together various pleasance
loops and logs and rolled in with
production photographs.”
Evans concluded: “In general,
it’s very easy to think about it
being not as big as it is. It is easy
to look at the job and go, ok,
there are lots of small venues,
it shouldn’t be too much of a
problem. But then you get up here
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#40811 - StudioLive AI PA Line.indd 1 03/07/2014 09:27

EVENT FOCUS: Edinburgh Fringe
Below: Zoe Lyons appeared in the Seabright production of Outings at the Gilded Balloon venue at the Edinburgh Fringe Festival. White Light supplied a plethora of fixtures for the venue, including
lighting and effects equipment, power distribution and control, staging and rigging equipment.
and you think, wow, we’ve only got three days
to rig 17-plus venues in addition to external stuff
aswell.”
YAMAHA
Also involved at the Pleasance Theatre
this year was Yamaha with its QL Series of
digital consoles. The combination of a small
footprint, exceptional processing power, Dante
networking and local I/O makes Yamaha’s QL
series digital consoles ideal for the Festival
Fringe. This year, six QLs enjoyed a month of
exceptionally hard work throughout August
with The Pleasance.
Supplied by Orbital Sound, Pleasance is a
long-term user of Yamaha mixing consoles. This
year, QL1s were installed in the Queen Dome,
Ace Dome, Pleasance Forth and the Cabaret Bar,
QL5s in Pleasance Two and Pleasance Beyond,
as well as a Yamaha CL5 in Pleasance Grand and
some LS9s and 01Vs in smaller venues.
“At Pleasance we strive to provide the highest
quality equipment, even in the smallest venues,
which is why we put Yamaha digital consoles
in all the spaces we can,” said Matthew Ferrie,
Head of Sound at The Pleasance.
“The mix position in some of the venues is
tiny or awkward to get to, so the footprint of
the console is really important. There are a lot
of funny-shaped rooms where we can’t just do
proscenium left / right and a couple of delays.
There will be maybe a L / R of some sort, then a
fill here and a fill there, some delays there, other
delays over there.
“Even for things like stand up comedy,
where all they need is an offstage microphone,
42
an onstage microphone and a few channels
of playback, the sound reinforcement is quite
complex. So the fact that we can do all the time
alignment and EQ within a package as small as a
QL console is fantastic.”
As The Pleasance stages a broad spectrum
of shows, ranging from complex theatre
productions to live bands, the versatility of the
QL consoles really comes into its own.
Continued Ferrie: “We are using Dante and
R-series I/O units with three of the QL consoles
and the CL5; the rest of the QLs are using the
desks’ local i / o. But even on those shows, the
fact that I can add more I/O channels via MY
series interface cards means we can have a
complex show running on a very small console.
We have a live band in Ace Dome at 1am, for
which we have to move a load of loudspeakers
around every night, but it’s all mixed on the QL1.
“To be honest I hadn’t seen one before
they arrived,” conceded Ferrie. “But the user
interface was very familiar and I literally learned
the consoles as we put them into each venue,
set them up and trained the crews in the four
days between them arriving and the first shows.
The QL is very undemanding to get to grips
with.
“Working here is a real baptism of fire for
the crews. But once it’s over, they’ve learned a
whole load of new skills and used them in the
real world; they’ve worked in a team and done
very long hours, all of which are part of working
in theatre. At first it takes them a while to solve
problems, but within a couple of days they’ll
be doing it in seconds, almost without thinking
about it. Having consoles that they can learn
very quickly is a key part of that.
“Because of the quick turnaround between
shows, we teach them to keep things simple -
patch it all 1:1, everything to the stereo buss and
then use the matrixes to do delays and so on.
Within days they’ve invariably taught themselves
complex stuff with DCAs, mute groups, custom
faders, the Premium Rack and so on. We’ve had
to pull them back and remind them that, if they
go sick, someone else won’t know how they’ve
set the desk up. But it demonstrates how the
QLs are also an excellent teaching tool.”
Despite the constant use in harsh
environments - whether that be dust or the
relentless heat and humidity of continually-used
small venues in summer - Yamaha QL consoles
have proved an unqualified success at the 2014
Fringe.
“Reliability is obviously key and we’ve had
zero problems. We switched the QLs on, on the
first day and, despite being used so heavily, we
haven’t had a problem with any of them. Not
one single issue, which I think is a real testament
to a new console,” concluded Ferrie.
“Everybody has been really happy with them.
They’re really intuitive, easy to work and simple
for the crew to understand. We couldn’t ask for
anything more.”
TPi
Photos: Lou Stein, Hawthorns, ETC,
White Light, Steve Ullathorne.
www.edfringe.com www.eattothebeat.com
www.etcconnect.com www.hawthorns.uk.com
www.whitelight.ltd.uk www.xlvideo.com
www.orbitalsound.com
www.yamahaproaudio.com
 EVENT FOCUS: Current RMS

CURRENT RMS: EQUIPMENT RENTAL

MANAGEMENT IN THE CLOUD
CURRENT RMS WAS OFFICIALLY LAUNCHED ON SEPTEMBER 1 AND IS ALREADY SETTING HIGH STANDARDS
IN THE RENTAL SOFTWARE MARKET. BUILT SPECIFICALLY FOR THE AV, PRODUCTION AND LIGHTING SECTOR
BY CEO, CHRIS BRANSON, TOGETHER WITH A SMALL TEAM AROUND THE PRODUCT, EXTENSIVE RESEARCH
INTO CLOUD TECHNOLOGIES AND INDUSTRY REQUIREMENTS WERE IDENTIFIED PRIOR TO PRODUCT
DEVELOPMENT. TPi LEARNS ABOUT THE INNOVATIVE THINKING BEHIND THIS NEW PRODUCT.

“We acknowledged a gap in the market - the
industry needed an online, intuitive, simple
equipment rental management system,”
said Branson. “A system that would readily
maximise operational efficiencies and asset
utilisation, removing accessibility issues that
are present with Windows-based systems
and allowing all users to work on the move
from any device.”
After years of research and development,
the team decided to run an Early Adopter
program, really putting the system to test.
From December 2013, 25 businesses in the
AV and production sector were invited onto
the program to work with the team, testing
Current RMS, using the system to manage their
rental business. Over the course of these nine
months, invaluable feedback was provided and
relationships formed, ensuring the system was
entirely ready to be launched.
Its incredibly modern user interface is now
setting standards in the rental software market,
using icons, colour, images and graphs to
help illustrate information in a simple, easy to
understand way - for any level of user. Feedback
already received is that there is no other system
on the market that looks as fresh and modern as
Current RMS and because of this, people enjoy
using it.
Within one centralised system, companies
can manage all rental operations and processes
from any device and location at any given time.
“Creating job opportunities from enquiry
through to quotation stage, managing
equipment availability, scheduling activities for
your staff, order logistics and invoicing - Current
RMS effortlessly covers it all. At the heart of the
system is a powerful CRM Solution, connecting
people, products and events, helping you keep
in touch with all suppliers, customers and users,
at all times,” continued Branson.
All web pages are fully responsive, making
the system easy to use on any portable device
and the system is extremely flexible and
adaptable.
“We appreciate how hectic this industry
can be and are proud to deliver a solution that
efficiently deals with any last minute changes
and complex rental processes. Users can easily
customise their own documents and incorporate
internal and external contacts to any job or
discussion,” he said.
From a technology point of view, Current
RMS believes the production and AV industry is
moving even further towards a fully automated
online environment. Embracing cloud
technologies, understanding the comprehensive
security measures actually placed around data
in the cloud and that cloud software helps keep
businesses streamlined, updated and scalable.

44
EVENT FOCUS: Current RMS
Previous page: The Current RMS software was launched on September 1. Below: Current RMS CEO, Chris Branson.
By implementing cloud rental
management software, businesses
no longer have to think about set-up
costs or software installation, system
upgrades or data backups - Current
automatically covers it all, allowing you
to focus on the job at hand.
Providing rental businesses with
the power and flexibility that instant
access on the move presents, will in
turn improve customer response rates
leading to happier, long-standing
customers. Time spent on administrative
tasks and costs on IT infrastructure
will reduce, whilst asset utilisation will
dramatically increase. Current RMS
easily helps maximise the capability and
utilisation of equipment, highlighting
any shortages from quotation and
order stage through product availability
screens, ensuring as many jobs as
possible can be fulfilled, avoiding
equipment being left on the shelf.
“Innovation is always at the heart
of everything we do, from the features
we deliver and the design of the system
to the way we communicate with our
customers. We are always looking to
push technical boundaries, delivering
46
key features, taking on-board customer
feedback, enriching the system even
further, whilst staying true to its design
and ease of use,” said Branson.
The Current RMS team have found
this industry to be very open and
transparent and to follow suit are
offering a free 30-day trial of the system
- keen for businesses to experience the
simplicity and flexibility of Current RMS
first hand.
This notion was delivered first
hand as Lisa Kenward, Current RMS
Marketing Manager explained: “We’ve
just come back from a very busy three
days at PRO and BPM, the launch
exhibition for Current RMS. What a
fantastic show, electric atmosphere,
entertaining and vibrant. It was great to
be involved in such an innovative show
and have so many industry experts
stop by our stand to say hello, eager
to learn more about Current RMS. We
received some fantastic feedback and
had businesses sign up there and then
at the show, after seeing the product in
action, thanks for stopping by!”
TPi
www.current-rms.com
 EVENT FOCUS: Litec
LITEC AND AMG AT ROME’S
AUDITORIUM PARCO DELLA MUSICA
TPi SCOOPS THE EXCLUSIVE AS LITEC RAISES THE ROOF IN ROME.
Ever since it was inaugurated on 21
December 2002, the Auditorium Parco della
Musica has become a consolidated reality
on the cultural scene, a resounding success
in terms of the quality of its programmes
and the consistently high audience turnout.
Every year over one million people, including
audience and participants in the various
events, have visited the multi-functional arts
complex designed by Renzo Piano, one of
the world’s most accomplished and feted
architects.
Renzo Piano’s definition of the Auditorium as
a “cultural factory” is becoming ever more apt
as time goes by. He said: “The most fascinating
adventure for an architect is that of constructing
a concert hall. It might be even nicer for a
violinmaker to make a violin; but (given all the
differences there are in size and time) they are
similar activities. Ultimately, the objective is
always to make instruments that are made for
48
playing or listening to music. The sound is what
rules. Music has always been the focus of my
attention: working with acoustics, working with
musicians.”
The site for the vast project of Rome’s
Auditorium was specifically chosen to blend
and complement the existing landscape.
The area chosen for the Auditorium complex
stretches from the Parioli area in the South,
to the Flaminio area in the West, the Villaggio
Olimpico to the North and Villa Glori to the
East. This urban up-grade should confer a
metropolitan and territorial dignity to this area
equal to the four districts surrounding it, each
with their own specific identity and local day to
day way of life.
Music has been the underlying priority of the
Auditorium’s architectural and urban project. All
the available areas, both internal and external,
have been planned according to their being
functional to musical activity. The facility’s
concerts of symphonic and chamber music are
intertwined with the most varied and versatile
of concert programming, from jazz to pop,
to rock, world music and beyond; as well as
film premieres, stage plays, art exhibits and
literary performances. The festivals and other
events have fast become musts on the cultural
calendar, while the halls host more and more
fashion shows, conferences, conventions
and meetings at an institutional level. These
activities to promote culture at large make the
Auditorium Parco della Musica an engine of
growth of limitless power in the great design of
relaunching and re-qualifying the city.
The Auditorium has not only three concert
halls, but also a Theatre Studio, and Studios 1, 2,
3, a foyer and a cavea. Each of the three halls is
different in size and has been constructed with
the aim of satisfying the needs of any music
genre. The Santa Cecilia Hall can be used for
large orchestral and choral symphonic concerts.
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EVENT FOCUS: Litec
First Page: Ever since it was inaugurated on 21 December 2002, the Auditorium Parco della Musica has become a consolidated reality for Rome’s cultural scene. Below: LITEC and AMG worked together to
create the splendid performance space.
The Sinopoli Hall, because of its greater acoustic
flexibility, is more apt for a great variety of
musical genres. This is also because orchestra
position can be modified with respect to the
audience; the Petrassi Hall, finally, has been
assigned to contemporary musical genres,
theatre performances and cinema. This is
because it has an inbuilt system that allows
both the musical source and the audience
to be shifted and the sound reverberation
tuned. Theatre Studio, with its 350 places, is
a multi-functional space. Studios 1, 2, 3 are
also important musical locations. Thanks to
the quality of their technical facilities and
equipment, they guarantee all practice sessions
optimal acoustic conditions. Even the foyer can
be used, on particular occasions, to present
simple musical performances.
The Cavea, the open-air amphitheatre
at the centre of the Auditorium, is another
particularly interesting musical area welcoming
50
up to 3.000 spectators. The Cavea, named
after composer Luciano Berio, is the physical
demonstration of the main concept behind
the whole Auditorium project: it acts both as
an open-air theatre and as a square. This dual
function makes it the fulcrum of the premises’
centrality with respect to its urban surrounding.
The Cavea has gradually become a meeting
place. It is now part of the urban context and is
used, in everyday life, as a normal city square.
Here, at the Cavea of the Auditorium, AMG
International, a leading rental company, has
recently set up a 19 by 19 by 16-metre LITEC
roof system for the summer music season.
Though monumental, it fitted perfectly within
the existing architecture. The truss systems
totally built in RL105A truss and Maxitower 52
was strong and sturdy, thought for such a big
installation on a wide span. It featured built-in
guides for inserting roof sheets and a four-way
sleeve block which is compatible with another
ffp
LITEC truss product, LIBERA FL105.
On this big stage a parade of artists
performed live such as Massive Attack, the
music legend Robert Plant, Damon Albarn
(Blur, Gorillaz), James Blunt, Scottish Mogwai,
Simple Minds, Rufus Wainwright, Joan As Police
Woman, Suzanne Vega, Cat Power and many
other worldwide famous singers.
The roof system constructed was ideal to
host all the special events, which were both
successful and well-attended. Alex Vinciguerra,
AMG International Event Director, stated: “We
have taken on new considerable challenges and
our team achieved ambitious goal this year. We
are constantly striving for the highest levels of
performances and safety and this project is part
of our growth plan.”
TPi
www.auditorium.com
www.litectruss.com
www.amginternational.it
 EVENT FOCUS: Anne Frank
PUSHING THE SOUND ENVELOPE:
ADAPTING THE ANNE FRANK STORY ON STAGE
AS A COMPELLING NEW THEATRE PRODUCTION BRINGS ANNE FRANK’S STORY TO LIFE IN A PURPOSE BUILT
THEATRE IN AMSTERDAM, TPi CHATS WITH WORLD-CLASS SOUND DESIGNER, JEROEN TEN BRINKE, ABOUT
THE COMPLEXITIES OF THIS ENGAGING LIVE SHOW.
A three-time winner of the John Kraaijkamp
Musical Award for Best Achievement in
Design, Jeroen ten Brinke of the Netherlands
is one of Europe’s most innovative and
technically resourceful theatrical sound
designers. He was honoured for his
breakthrough work on Soldier of Orange
(Soldaat van Oranje - De Musical), where
he configured a remarkable 360º system
for a circular ring stage of multiple sets
that surrounded a rotating platform for an
audience of 1,100.
His latest work is ANNE, a bold new play
based on the story of Anne Frank. Produced in
the purpose-built Theater Amsterdam, ANNE
utilises highly realistic sets of room interiors
that rotate on and off the stage. ten Brinke
explained the role audio plays in the production
and how technology like Meyer Sound D-Mitri
fits into the era of complex show design.
TPi: The staging and consequent sound design
of Soldier of Orange were unprecedented,
52
though some of that complexity stemmed
from it being a musical. Plays are normally
more straightforward, yet your sound design
for ANNE is extraordinarily intricate. What’s so
unusual here?
ten Brinke: In many scenes, the action takes
place simultaneously in two or more acoustically
isolated spaces, so the actors cannot hear cues
from one another. This is particularly true in
those scenes where the characters in hiding
need to talk very quietly or in whispers. So we
need to have cross monitoring loudspeakers in
all the rooms, with wireless microphones on all
the actors.
TPi: It’s quite a large theatre. Do you need to
run the voices through the house PA as well?
ten Brinke: Yes we do, but it’s more complicated
than that. This is not a musical, where audiences
tend to be more forgiving about where voices
are coming from. That is very important in
ANNE, so we also have small loudspeakers
hidden throughout the rooms for creating a
first source for the sound, so you get a nice feel
of placement. The main PA loudspeakers are
delayed in reference to that.
TPi: The signals to the loudspeakers are all sent
via radio microphones. Why was that necessary?
ten Brinke: The sets move on and off the stage
via sophisticated mechanics, disappearing
and reappearing, and not always in the same
position. We didn’t want to worry about cables
getting tangled, so we are using 16 Shure
PSM 1000 units for 32 mono feeds to the
loudspeakers in the rooms. Also, the fact that
the loudspeakers in the sets change position,
changing their relation to the audience, means
we have to change the relative delay times. So
yes, it gets complicated, as we have a total of
72 outputs in the system.
TPi: And what about inputs - how many radio
microphones are there?
ten Brinke: We have 24-channels of radio mics
on analogue inputs. Then we also have 48
channels on AES3 for sound effects, orchestral

Below: A Meyer Sound D-Mitri digital audio control system was used for all mixing, processing, delays, output matrixing and
loudspeaker processing.
score playback, and reverbs. We have four
computers running Cubase and Nuendo, one
with a multitrack orchestra, two for effects, one
for the Altiverb reverbs, and a fifth as a spare.
These run via AES3 into a Yamaha DM2000VCM
which works as a submixer.
TPi: For mixing, you chose a Meyer Sound
D-Mitri digital audio control system. What
advantages does it offer compared to a fixed
architecture console?
“And D-Mitri sounds awesome, much like a premium analogue desk.
For me, it’s the only digital system that is comparable sound-wise to
an analogue Cadac.”
ten Brinke: It does all the mixing, processing,
delays, output matrixing, and loudspeaker
processing. D-Mitri is wonderful because you
can go from any and all inputs to any or all
outputs, in any way you like, and do it easily.
You never have to say no when a director asks
if you can do something, because anything is
possible. And D-Mitri sounds awesome, much
like a premium analogue desk. For me, it’s the
only digital system that is comparable sound-
EVENT FOCUS: Anne Frank
wise to an analogue Cadac. We have a total
of 72 inputs and 72 outputs in this D-Mitri
configuration.
Q: That’s a lot of technology for a drama! What
was the biggest challenge in making it all work?
ten Brinke: I think the main difficulty was the
monitoring situation, because it’s all happening
in different rooms, making it impossible for
actors to hear one another and respond to
cues. That made it very difficult to rehearse, and
also in some scenes the actors are walking from
one room to another while the house is turning
on stage, which makes it even more complex.
TPi: Is there anything you learned from the
complexities of Soldier of Orange that you
applied to ANNE?
ten Brinke: With so much audio and theatrical
show control now operating on computer
networks, I’ve learned that it’s critically
important to build your network infrastructure
53
EVENT FOCUS: Anne Frank
Below: The cast of ANNE below, produced by Robin de Levita and Kees Abrahms. The script was written by Jessica Durlacher and Leon de Winter.
clean and solid. If your whole show depends
on one cable, you have to make sure you don’t
lose any connections. So with ANNE, I avoided
making my own network cable terminations.
Audio people shouldn’t be doing that. It’s a job
for IT professionals!
TPi: Back to mixing and processing, are we
seeing a new trend here with systems like
D-Mitri? Are you essentially assembling
a custom console for the needs of the
production?
“Your only real limitations are budget, and of course physical and
acoustical limits, like the height of the room, and where you can place
your loudspeakers. But even within such limits, you can take it pretty
far, much further than a few years ago.”
ten Brinke: It is different, because with D-Mitri
you can make as many subgroups and auxiliaries
as you require something that is difficult if not
impossible with fixed format desks. You just add
it in and give it a name, where with other desks
you have to make compromises to get the end
result. With D-Mitri, it’s endless, limited only by
the input and output frames you have available.
TPi: Does all that complexity affect the sound
54
quality?
ten Brinke: No, with D-Mitri you don’t get any
degradation because the clocking is very good,
and the A-D and D-A converters are excellent,
running at 96 kHz. So I don’t feel like I’ve lost
the feel of great analogue sound.
TPi: Clearly both the staging and audio
technologies of ANNE are on the cutting edge.
Is this a new trend for dramatic productions
in Europe? Are we going to see more radio
microphones in plays?
ten Brinke: It’s still highly unusual, at least here
in Holland and most of Europe. For one thing,
not many productions have scripts with this
much whispering, and ‘stage whispering’ is
unnatural and distracting at some point. So I
think it will remain rare for indoor productions,
though of course it’s more common for outdoor
dramas.
Q: Are shows like Soldier of Orange and ANNE
pointing toward a greater role for sound design
for musical and drama?
ten Brinke: Yes, directors can now rethink how
they use sound, because the new technologies
can accomplish so much more. You don’t have
to worry about making cues too difficult for the
operator to handle manually. No matter what
cue you think of, there is a way to automate
it and link to another cue in lighting or video.
With the flexible structure of D-Mitri, you can
be very open-minded in how you approach
the whole task of sound design. Your only
real limitations are budget, and of course
physical and acoustical limits, like the height
of the room, and where you can place your
loudspeakers. But even within such limits, you
can take it pretty far, much further than a few
years ago.
ANNE was produced by Robin de Levita and
Kees Abrahms. The script was written by
Jessica Durlacher and Leon de Winter, with
music composed by Paul M. van Brugge. The
ANNE audio team also includes assistant
programmer Chris Blaauw and resident
sound mixer Igor Milosavijevic. The D-Mitri
system was supplied by Focus / Rent-all of
Amsterdam, with Meyer Sound distributor
Audio Electronics Mattijsen facilitating the
sale.
TPi
www.theateramsterdam.nl
www.meyersound.com
www.shure.co.uk
 PRODUCTION PROFILE: Creamfields

CREAMFIELDS 2014
CREAMFIELDS IS ONE OF THE LEADING DANCE MUSIC FESTIVALS IN THE WORLD. ESTABLISHED IN 1998,
THE ORIGINAL FESTIVAL SET OUT TO PROVIDE THE CLUBBING WORLD WITH A BESPOKE LARGE SCALE
OUTDOOR EVENT AND HAS GONE ON TO BECOME ONE OF THE MOST POPULAR AND RENOWNED EDM
FESTIVALS IN THE WORLD. THE SUCCESS OF CREAMFIELDS HAS ATTRACTED WORLDWIDE ATTENTION
AND HAS LED TO IT BEING STAGED ON EVERY CONTINENT SINCE 1999. IT HAS IN FACT BECOME THE ONLY
FESTIVAL IN THE WORLD TO SUCCESSFULLY ESTABLISH ITSELF IN THE GLOBAL MARKET AND TO DATE
CREAMFIELDS HAS BEEN STAGED IN 17 COUNTRIES WITH NEW TERRITORIES PLANNED FOR 2015. TPi
SPOKE TO THE UK PRODUCTION TEAM.
2014 marked the fifth year that LarMac Live “The one thing that is becoming easier is DJ with them on behalf of our clients has to be
was brought on board to work with Cream backline,” continued Greenway. “The variety reviewed constantly.”
and Live Nation to produce the show. As and randomness of DJ booth set-ups is getting On board for the first time this year was SSE
the festival has grown, so has its technical simpler and everyone is using the same kind in the 10,000-capacity Departures Arena, while
needs and this year’s show was no different, of gear now that it’s become more intelligent. HSL was brought in on a bigger scale than in
with Ian ‘Lar’ Greenway of LarMac Live, and We have a few hundred Pioneer CDJ-2000 previous years. Beyond that Greenway adapted
Production Manager for the show, handling multiplayers and DJM-900 mixers on site, so his personnel structure, making sure that his
all technical and design matters across the then comes the problem of sourcing volumes of team ran independently as a department.
10 stages on the 70,000 capacity site. one kind of gear.” Greenway told TPi how he worked closely
Commenting on the festival’s development Commenting on the importance of choosing with the different DJ brands to develop different
over the years, Greenway said: “We’ve gone the right suppliers, Greenway added: “We designs for each area of the festival, each
from having 160m2 of F15 and stealth screen know how hard these shows are for suppliers day. What this resulted in is some pretty big
to having over 2,200m2 of screen going right and so we look at what else is happening on technical changeovers in the arena, but shows
down to 6mm. Then there’s pyro - we have so our show weekends to make sure we’re not with different personalities.
much raw explosive that it can’t be held onsite overstretching suppliers. We also expect the ‘A State of Trance’, Armin van Buuren’s brand,
and gets shuttled in from the airport, as well as world and want suppliers to grow alongside us, hosted the Saturday in the biggest tent -
around 1,000 bottles of CO² to deal with the and the show. We review all of the contracts supplying Greenway with an arena-based
cryo-type effects and confetti. every year. Shows evolve and so how we deal creative concept, which was then interpreted

56

Opposite: XL Video supplied its largest amount of screens to the festival to date for 2014. Below: Deadmau5 rocks the stage; Avicii performed through a myriad of colours and effects.
in to a field-ready show. This was integrated
with the designs for the Friday and Sunday so
common ground support work could be done
and the changeovers masterminded.
“The great thing about getting a DJ’s input
is that there are different approaches across the
site,” said Greenway. “There’s a couple of tents
that we really push on - particularly Annie Mac’s
AMP arena this year, which saw us build a series
of towers clad with screens to create a more
angular stage. It just added another feel to the
tents.”
These multiple changeovers did, of course,
come with their own challenges. According to
Greenway, the show is so big now and working
directives are so heavy that shift patterns are
run on what is basically a 24/7 site. “We have
four tents with 30,000 people open on the
Friday,” he said. “They get changed over to
the Saturday and then Saturday in to Sunday
sees the two outdoor stages and usually six
of the arenas getting turned around. Then
PRODUCTION PROFILE: Creamfields
we’re straight in to Sunday night load-outs. So
it’s really full on with shows needing crewing
themselves, but we have the right people in the
right places to keep everything moving.”
A first for this yea’rs festival involved the Axwell
^ Ingrosso performance, which saw the arena
turned into a 360º sensory space. A perimeter
truss around the tent was laden with special
effects, lasers and lights and then eight sources
of audio were used to give a truly multisensory
experience.
57
PRODUCTION PROFILE: Creamfields
Below: Fatboy Slim lit up with Colour Sound Experiment; Steve Angello on the Size Matters stage.
Showforce provided both Star Events
Group and LarMac Live with multi-skilled crew
members for this year’s Creamfields. A team
of more than 150 crew members, including
climbers and steel hands worked throughout
the build-up and breakdown period to aid in
the construction and de-rig of stages. LS-Live
provided Creamfields with risers once again
following on from a successful history with the
festival.
Over 180 crew were supplied for a nine-day
period, spanning the build-up, show days and
de-rig of Creamfields. The team included a crew
chief, production crew and stage hands, who
were involved with the load in and out of the
festival and backline changeovers during the
show days. Showforce also supplied Larmac
Live with an experienced stage manager.
Chris Martelly, Showforce’s Operations
Director said: “Logistically it’s a bit of a
challenge, due to Daresbury’s remote location
and the size of the site, however we were able
to utilise our own in-house fleet to transport
crew to and from site, with the vast majority of
them coming from our Liverpool office.”
58
LIGHTING
Adlib supplied lighting, sound and rigging
for Arena 04 - hosted by Pete Tong / London
Warehouse Events; Arena 05 - Revealed / Super
You & Me; and the VIP area. Leading Adlib’s
team on site was Crew Chief Kevin Byatt,
while everything was coordinated from the
office / warehouse end by Dave Eldridge. Both
arenas involved major overnight lighting / visual
changeovers.
Adlib’s Ian Tomlinson designed production
lighting for all three areas, which in CF04 and
CF05, was also based on the requirements of
the headlining acts each day. Ground support
systems supplied by Prism were constructed
around the stages in both arenas and used to
provide the lighting positions, some of which
were with sub-hung Adlib trusses.
In CF04 the moving lights were Martin by
Harman MAC Viper profiles, MAC Aura Washes
and MAC 700 Washes - 56 in total, and these
were joined by Chauvet Professional COLORado
LED batten 72s and Martin by Harman Atomic
3000 DMX strobes, plus a number of four ACL
bars for additional effects. Lighting control
came from a High End Systems Road Hog Full
Boar lighting desk and Playback Wing, and the
system was tech’d by Chris Richardson, Charlie
Rushton and Nathan Harrison.
In 05 Stu Wright, Andy Jones and Anthony
Viney looked after all things illuminative, and
this stage also ran on the Friday afternoon /
evening and had two substantial overnight
changeovers which included a completely new
video set up and an additional lighting truss for
the second night.
The Arena 05 production design had to
accommodate Sub Focus’ trussing set of three
concentric trussing circles on the Friday night -
so practicality and adaptability were key.
The moving lights in 05 were Martin by
Harman MAC Viper Profiles, MAC 301 LED
washes, Studio Due CS4s and Clay Paky Sharpys
- 40 fixtures in total, arranged over the stage
and above the audience. They were joined by
Martin by Harman Atomic 3000 DMX strobes
and the console options included an MA
Lighting grandMA2 and an Avolites Pearl desk.
Lighting in hospitality was rigged on a
central circular truss and featured 50 small
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PRODUCTION PROFILE: Creamfields
Below: Deadmau5 brings the stage to life; 3 are Legend stand united at Creamfields; Avicii on the South Stage.
moving lights - a combination
of Martin by Harman MAC 350
Entours, MAC 301’s, MAC 250
Washes and Beams. They were
joined by Chauvet Professional LED
PARs, LED cubes and Abraxus LED
snowflakes, as well as ETC Source
Four Junior zooms for key-lighting
the DJs. Control was an Avolites
Pearl Expert and Expert Touch
Wing and this area was looked
after by Adlib’s Jeff Bond, Phil
Woodbridge and Cody Chambers.
Audile was brought on board
to look after CF08, where the
show design for Saturday night
was provided by Immersive’s Mark
Calvert, for Pryda. His concept was
to make the tent feel more like
a club, so Audile supplemented
the lighting on stage with fixtures
located on a square truss box
flown over the dancefloor, and on
nine towers located around the
perimeter of the tent. All fixtures
were trimmed around four metres
from the floor and a huge amount
of smoke from six Martin by
Harman JEM ZR44 smoke machines
was used to fill the tent. Fixtures
included 56 Clay Paky Sharpys
and 30 Martin by Harman Atomic
3000 DMX strobes, supplemented
by a large quantity of lasers
provided by ER for Pryda. Control
on the Saturday night was from an
Avolites Sapphire Touch console
60
and operated by Jaz Bhullar for
Pryda.
This all changed for the
Sunday night, with Audile’s
Jonathan Godsmark utilising the
fixtures to give a fresh look for
Cream. Overnight, the majority
of fixtures were relocated from
the dancefloor onto stage, with
all 56 Clay Paky Sharpys and 24
Martin by Harman Atomic 3000
DMX strobes being grouped into a
floor-to-ceiling battery surrounding
a number of video panels, the
latter requested by Paul van Dyke.
With an additional 12 Robe Robin
100 LEDBeams located on stage
together with a 24kW of Molephay
blinders, the impact of the lighting
was extreme. Godsmark operated
on an Avolites Pearl Expert Pro,
assisted by Dale Wilson.
Audile’s final stage was CF09,
a smaller arena located under a
Saddlespan roof. As an outdoor
venue the main aim was to provide
lighting fixtures that would have
impact in daylight. Audile supplied
four Martin by Harman MAC Viper
Profiles, 12 Clay Paky Sharpys and
12 Robe Robin 100 LEDBeams,
these were operated by Bobby
Dazzler using an Avolites Tiger
Touch.
Led by Crew Chief Jon Rickets,
Colour Sound Experiment supplied
over 550 moving lights plus
Thanks to Tinie Tempah and the crew for coming to LS-Live
for production rehearsals and stage set, we enjoyed having you!

 Favourite Rehearsal Facility Favourite Staging Company

T +44 (0)1977 659 888

E sales@ls-live.com
Main Image: © Livepix
 PRODUCTION PROFILE: Creamfields
Below: EDM fans were treated to an array of colour, sound and special effects during the three-day event
MILY
SSIO N X4 FA
THE IMPRE
HT
ERSATILE, BRIG
FAST, V
ULTRAFA
ST
7 RGBW
15W LEDs
rigging and trussing to the North and South
TILE
VERSA
open-air stages.
ULTRA EDs Almost identical in size, Colour Sound’s
B W 15W L production lighting design for both the North
19 RG and South stages was created with reference to
all the requirements of the headliners and their
LDs - requiring major overnight changeovers on
both stages.
The South Stage moving lights included over
80 of Robe’s MMX Spots, LEDWash 600s and
Pointes, together with Clay Paky Alpha Spot
1500s plus copious amounts of strobes and
blinders.
Colour Sound also supplied two sets of
control consoles - an MA Lighting grandMA2
and ChamSys, with all things lighting co-
ordinated by Dave Kyle and Chris Steel running
the FOH.
The North Stage was overseen by Colour
Sound Experiment’s Sam Campbell with a
moving light count around the 250 mark -
including Clay Paky Sharpys, Alpha Spot and
Wash 1500’s, together with Robe LEDWash
600’s and 1200’s and joined by a number
of strobes and blinders, and some Jarags for
ULTRABRIG additional impact. The MA Lighting grandMA
HT
55 RGBW console and ChamSys control were also available
15W LEDs here.
In both North and South arenas four of
Colour Sound’s custom Litec QX30S trussing
towers were deployed for audience lighting.
The towers each sat on a special base, which
could be extended up to 7.5-metres high using a
manual winch / steel system. They can be rigged
62
with any combination of lighting fixtures and in
this case, each one had four Clay Paky Sharpys
(North) or Robe Pointes (South), two Martin by
Harman Atomic 3000 DMX strobes and two
2-lites, all of which were hooked into the main
FOH house lighting desks.
Commenting on this year’s event Rickets
said: “There’s always a great vibe at Creamfields
and we really enjoy working there. It was
great to see all the hard work and production
investment pay off, producing two days of top
quality shows.”
Over in the Size Records’ Size Matters
10-pole big top tent, working for The Events
Company UK, which handled rigging and
design, Chris Morgan’s company Blueprint, used
400 SGM LT-200 tubes and 130 ILD controllers
- spread over three separate grids to bring
the tent alive. The pixel-mappable two metre
long graphic tubes, loaded with RGB LEDs at
35mm pixel pitch, was specifically designed for
Saturday night headliner, Greek-Swedish DJ /
producer, Steve Angello and his ‘Size Records’
family.
Morgan commented: “The Events Company
UK was looking for something a little different
to make Steve Angello’s set really stand out and
designed these moving grids, populating them
with 3D mapped tubes.”
Events Company UK selected Madrix as the
optimum control platform for the tubes due to
the flexibility in creating content and the unique
ability to map the tubes in 3D. Blueprint’s Toby
Shipway programmed and operated the tubes,

Below: XL Video displays were used throughout the festival.
requiring 140 DMX universes to create
effects that were mapped individually
on the three grids, before combining the
maps to fill the room in a single continuous
grid. The grids themselves were raised
up to the roof so that the SGM LT-200s
went unnoticed during the preceding acts,
before being dramatically lowered for the
main set.
Via the Kinesys motion control, the
three grids could then be raised and
lowered over the heads of the audience
independently during the show. The
installation itself was carried out through
the night so that the SGM LT-200 pixel
tubes were only in place for the Saturday
night and gone by the next day.
VIDEO
Collectively LarMac Live, XL Video and
Star Events Group devised, supplied and
provided for 1,300 sq metres of screens
across the twin main stages at Creamfields.
Designed to appear as if they were
floating in the crowd space rather than
flanking a festival stage, Star Events Group
cantilevered the screens off the front of
twin 20 metres VerTech platform wings,
hiding the masts and roof grid supporting
PRODUCTION PROFILE: Creamfields
the seamless landscape video palettes.
Pete Holdich, Head of Structures at
Star Events, commented: “It took a lot of
planning to work out how it could all be
achieved. There were 18m by 10m screens
either side of both stages with a header
linking them across the proscenium and
a traditional backdrop screen behind the
artist, all mapped together.”
The two main side IMAG screens on
the North and South stages were made
up from a combination of XL’s robust high
brightness Radiant MC-18 and Pixled F12
products and F12 for the centre areas with
MC-18 surrounding.
On-stage, the majority of the screen
sections were made up from Pixled F15,
with the front of the DJ booths clad in
Radiant MC-18 Hybrid - a standard medium
18mm pitch tile with 32 by 32 pixels per
panel, and four by four higher brightness
(7700nit) low resolution pixels embedded
in the same panel. A stage header / border
across the top could also be run as high or
medium resolution using Radiant MC-7T.
The final two DJs playing on each stage
also had their own video designs, so the
overall set ups on the stages for Saturday
and Sunday were based on being able to
63
PRODUCTION PROFILE: Creamfields
Below: There was an explosive atmosphere at this year’s Creamfields festival.
and Sunday were based on being able to
replicate these as near as possible.
Control on the North and South stages
came from the latest Catalyst systems run in
conjunction with Resolume and Barco Encore
screen management to output to the different
areas - they were operated by James Cooksey
and Jack Banks. Most of the main artists
supplied their own content formatted to a pixel-
map of the screen surfaces that was supplied in
advance by XL.
As well as delivering more screens to the
outdoor stages, XL deployed more LED around
the arenas than ever before this year, with areas
64
03 - 08 receiving between 80 and 140sq metres
each, of which Arena 03 ‘A State of Trance /
Departures’ - was the largest single surface with
a 140sq metres screen design.
The products used in the arenas included
MC-18 and MC-18 Hybrid, and 100sq metres
of surface to cover the set structure in 07 for
Annie Mac Presents / London Warehouse Events
and almost 100sq metres of 9mm screen in the
Cream Arena, 08.
All the arena control systems had Resolume
platform at their core - with a Green Hippo
Hippotizer media server in 07, chosen for its
straightforward mapping capabilities to map
content onto the set structure.
Over 35 XL crew worked in shifts to deal
with overnight de-rigs and re-rigs on the North
and South Stages and in four out of the six
arenas, as the hosting clubs swapped venues
overnight.
In total, XL Video supplied over 2,000 sq
metres of LED screen plus control and crew
across eight stages and arenas this year, with
three XL Project Managers - Steve Greetham,
Paul ‘Macca’ McCauley and Connie Glover co-
ordinating the project on site.
Greenway commented: “Screens and pyro is
what a DJ’s set is all about. A huge amount of

Below: Hardwell performing on the South Stage; Mistajam gets the crowd going.
content and it’s our job to have a canvas for it.
We treated the two main stages identically, with
a fantastic stretch of XL Video screens and it
looked amazing.”
AUDIO
This year’s Creamfields festival featured an EDM
first in the form of TiMax dynamic 3D audio
spatialisation for duo Axwell ^ Ingrosso’s set
‘360’, specified by A&I’s sound engineer Wayne
‘Rabbit’ Sargeant, who also handles shows for
Avicii.
Rabbit designed an eight-channel surround
system with SSE Audio’s Project Manager,
Dan Bennett. It comprised two hangs of 10
L-Acoustics V-Dosc with the SB28 subwoofers
on stage, plus four side - and two rear-ground
stacks of four L-Acoustics V-Dosc cabinets each.
The system was managed by FOH systems
technician, Willie Klein and on stage by monitor
technician, Kevin Sparkes.
The TiMax SoundHub-S16 audio show
control matrix received a stereo DJ mix via AES
from the DiGiCo SD10 racks on stage. Eight
66
TiMax outputs were injected via Dante into
SSE’s fibre signal distribution network to the
L-Acoustics LA8 amplifiers. The first two (L/R)
outputs from TiMax were summed into the
Lake LM26 Processors driving the main left /
right system, alongside the main stereo mix
buss outputs from the SD10 mixing desk. This
allowed Rabbit to treat the TiMax spatialisation
as an effect laid over the main end-on stereo
PA mix, blended and cross-faded live during the
show using the SD10 DJ mix input faders and
pre-fade aux send faders to the TiMax inputs.
Ethernet control of the TiMax unit at stage
from FOH was established via a dedicated
VLAN also on SSE’s fibre network. At FOH, this
connected to a TiMax 1602MiniServer WAP,
which hosted an iPad Mini app webpage for
triggering pan cues and trimming front, side
and rear group levels of surround PA.
Also connected was a MacBook running the
TiMax software, to monitor and edit playback
of cues. Programmed by Outboard’s Dave
Haydon, these offered a range of slow, medium
and fast spins. The spin and chase effects were
PRODUCTION PROFILE: Creamfields
programmed in the TiMax TimeLine show
control screen, and other front / back ‘wave’
and slow / fast ‘zig zag’ effects were created
in the TiMax PanSpace. All were triggered
wirelessly by Rabbit from an iPad Mini running
the fully-customisable browser-based TiMax
SoundHub app.
Rabbit commented: “Mostly what I’m doing
at FOH for an artist like this is live mastering
- with external tools and plug-ins for bass
enhancement and things like dynamic EQ and
multiband compression, so TiMax spatialisation
is a powerful and welcome addition to the
palette.”
Bennett added: “It was my job to break
down what the TiMAx and Rabbit wanted to do
- rationalising what needed to happen. Taking
the initial idea and turning it into reality, not
blowing the budget but achieving the effect.”
Specified by Britannia Row, SSL’s role was
to support the crew and assist with training
visiting engineers, taking the pressure off the
technical crew. Commenting on the SSL desk,
FOH engineer for Creamfields South Stage,
PRODUCTION PROFILE: Creamfields
FOH engineer for Creamfields South Stage,
Johhny Keirle said: “The SSL used was great in
that it is a truly fantastic sounding console. Not
only does the channel strip sound great on its
own, there are countless rack units that I could
successfully use to get the most out of any input
going into the desk.
“The fact that this console has two insert
points allowed me to quickly and easily jump
between on-board SSL processing chains and
external hardware units without needing to
change any patching - obviously also allowing
me to run both chains in parallel. This,
combined with fantastic surface layout flexibility
and great monitoring options, made for a
fantastic console for Creamfields.”
For microphones and IEMs only a small
amount of RF was used, all of which was
supplied by Britannia Row and no IEM systems
were used on the South Stage.
Adlib worked on the audio for Arenas 04,
05 and the hospitality area and specified Coda
and JBL VerTec systems. The 10-a-side JBL
VT4889 main hangs brought a real edge to
the sound in Arena 04, together with 24 JBL
VT4880 subwoofers - fine-tuned with Adlib’s
standard Lake processing systems for EQ and
time alignment. The consoles of choice included
a Yamaha PM5D for FOH and a Midas Pro 2
onstage, with Adlib FD2 hi-packs and Adlib
DF415 subwoofers providing DJ monitors and
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68
eight Adlib MP3 wedges along the front of
stage. This Arena was engineered for Adlib by
Vidmantis Baleisa and Rui Feio.
In 05, the main hangs were 12 Coda Audio
Airline LA12 loudspeakers a side, with 12 Coda
Audio ViRay loudspeakers for infill and outfills.
A sub arc array was formed by 24 Coda Audio
SC8 subwoofers ground stacked and eight SCP
subwoofers forming the centre of the array,
all driven by Coda Audio’s new Linus amplifier
and DSP platform. A Soundcraft Vi6 desk was
provided for FOH and another Midas PRO2
desk for monitors together with the full Lake
processing system. On-stage were more MP3
wedges and the same combination of two each
Adlib FD2s / DF418 subwoofers for some serious
DJ monitoring.
Coda Audio was specified for the hospitality
area with eight Airline LA12 loudspeakers;
six SCP-F subwoofers ground stacked for the
main arrays; eight ViRAY and SCV subwoofers
to cover the side areas of the tent. This was
driven by Coda’s DNC amplifier platform and a
Soundcraft Si Performer 2 console. The crew in
here were Mark Johnson and Arron Hatcher.
Audile supplied stages CF07, CF08 and CF09
with audio and came up with the concept of a
DJ platform integrated into a wide ‘cityscape’ of
scaffold towers faced in video panel. This would
be triangular in shape, thrusting out into the
audience to bring the DJ closer to them.
Visit our website to find out more.
Audile bridled the PA from the tent
poles to keep the visual look clean as masts
wouldn’t have looked right alongside the stage
structure. A total of eight d&b audiotechnik
J8 loudspeakers were used per side, their low
weight being a great benefit when it came to
rigging. These were under-pinned with eight
d&b audiotechnik J-SUB subwoofers per side,
and DJ monitoring came from d&b audiotechnik
M4 wedges with Q-SUB subwoofers. Control
was from a Midas PRO2, with Dan Scantlebury
and Kev Gill splitting audio duties. Lighting
control was from a Chamsys MQ-100, with Tim
Hawes and Chris Sirey operating.
Audio in CF08 was a Funktion One
system, comprising Resolution 5 and F-221P
loudspeakers with Resolution 4 and F-218
for delays, powered by MC2 amplifiers. DJ
monitoring was provided by a pair of Funktion
One PSM-318 DJ monitors. Audio was operated
by Craig Williams and Chris Donovan, using a
Midas Venice desk and XTA processing.
Sound in CF09 was Funktion One Resolution
4 and F-218 loudspeakers with Turbosound
TFM-450 monitors, operated by Alex Goodby
on a Soundcraft M8 mixer with XTA processing,
while amplification was MC2.
Studiocare has been the primary supplier
of DJ kit to Creamfields for the past 10 years.
The advent of Pioneer’s CDJ has seen orders
change from several sets of Technics 1210s to
See us on C20
25/09/2014 13:46
PRODUCTION PROFILE: Creamfields
over 100 pieces of assorted pro DJ kit. This year
saw Creamfields’ largest equipment order with
Studiocare to date, consisting of 22 CDJ-2000
Nexus multiplayers; 43 CDJ-2000 multiplayers;
two DJM-800 mixers; 17 DJM-900 Nexus
mixers; one DJM-900 SRT mixer; two RMX-1000
effects and remix stations; three DJM-2000
Nexus multiplayer mixers; and two EFX-1000 DJ
effector, along with four Rane SL4 scratchers
and three Allen & Heath Xone:92 mixers and
one Xone:DB4 mixer.
Creamfields is one of the biggest single DJ
kit orders Studiocare receives each year and an
enormous amount of preparation goes in to
making sure the order is spot on.
SPECIAL EFFECTS
ER Productions supplied lasers to the Pryda
Arena, with a total of 48 lase-array fixtures - 24
red, 24 blue and four Tripan RGB ops utilised.
ER Productions rigged the laser-arrays all around
the arena and on a centrally hung truss to add
to the 360º feel to the show. With the fixtures
being DMX, they were controlled from the
lighting desk and for the laser heads the ER team
used Pangolin’s new Beyond software. BPM SFX
supplied lasers and SFX elsewhere on site and
covered over 30 artist shows across eight stages
and arenas over the three-day weekend.
The twin South and North Main Stages
featured over 400W of RGB laser power on each
70
stage across 16 projectors and over 300 Blue
Beam projectors on each stage. Huge stage
and display pyrotechnic show performances
to the likes of Calvin Harris and Avicii and over
30 15-metre chameleon, inferno and hurricane
flame heads provided ‘walls of flames’ to the
stage. New for 2014 was 12 X-treme Shots per
stage each containing 30-metre streamers,
forming a spaghetti junction of streamers
over the crowd. Also new, were Magic clouds
providing floating logos and shapes over the
crowd throughout the day, floating about.
Continuing on its vision of a 360º experience
for the crowd, Creamfields featured multiple SFX
towers situated in the crowd, consisting of CO²
power jets washing the crowd with plumes of
CO², confetti and integrated pyro.
Arena wise the lid was blown off - Steve
Angello and his Size Matters Arena bombarded
the senses with ‘a hit a minute’ pyro and SFX.
There were 16 Ice Cannon Power jets rigged all
around the outer perimeter of the tent for the
Axwell ^ Ingrosso set, along with 360 confetti
swirl fans. New for 2014 were the ‘Boo Bubbles.’
A total of nine powered lasers provided an
emanating display performance throughout the
set, along with huge stage pyro and confetti hits
throughout.
But the special effects didn’t stop there, with
another six arenas kitted out with high-powered
laser packages, deafening CO² systems, and
tailored premium pyro and SFX packages to
each artist performance.
Summing up his thoughts on the event
moving forward, Greenway concluded:
“Creamfields has always been really passionate
about its approach to artist’s shows - it is proud
of the fact that it’s one of the only festivals in
the world to allow an artist to bring their full
production design with them. Although the gear
is locally supplied so acts can do multiple shows
that day, this is a really big deal as we get use of
the acts’ creative vision.
“Creamfields has always been one of the
most famous dance shows in the world and is
one of the originals. Its attitude of more, more,
more says it all really… The team wants to
create the biggest and best party in the world
and have the strongest line-ups year on year. No
pressure on us then!”
TPi
Photos: Marc De Groot, Howard Hill,
Anthony Mooney, Nathan Damour
& Colour Sound Experiment
www.creamfields.com www.larmaclive.com
www.er-productions.com
www.ls-live.com www.sseaudiogroup.com,
www.outboard.co.uk www.xlvideo.com
www.studiocare.com www.showforce.com
www.stareventsgroup.com http://bpm-sfx.com
www.coloursound.co.uk www.audile.co.uk
www.adlib.co.uk www.britanniarow.com
 PRODUCTION PROFILE: V Festival

V FESTIVAL
BIRTHED OUT OF THE CRAZY BRIT POP-ERA BY PULP’S JARVIS COCKER IN 1996, WHO WANTED TO PLAY
TWO OUTDOOR VENUES IN TWO DAYS, THIS BRITISH FESTIVAL HAS SINCE GONE FROM STRENGTH TO
STRENGTH AND EARNED A PLACE AS ONE OF THE MOST POPULAR EVENTS IN THE UK’S FESTIVAL PERIOD.
HELD IN THE LAST WEEK OF AUGUST OVER TWO DIFFERENT SITES - HYLANDS PARK IN CHELMSFORD AND
WESTON PARK IN SOUTH STAFFORDSHIRE - THIS PREDOMINANTLY ROCK MUSIC FESTIVAL ALSO CATERS TO
VARYING GENRES AND HEAVY WEIGHT POP ACTS. THIS YEAR ATTENDEES SAW GLOBAL STARS INCLUDING
JUSTIN TIMBERLAKE, ED SHEERAN AND THE KILLERS. TPi LOOKS AT THE PRODUCTION NEEDS DURING A
TECH TOUR OF THE TWO EVENTS.
SITE ACCESS Formed in the 1960s, Eve has been operating Mojo provided a wide range of its stock
Eve, one of the UK’s leading suppliers of across the event and industrial sectors for over inventory including barriers for stage one and
temporary access systems and related services, 48 years. Eve attributes this far from temporary two in the north, and all stages at V South, with
was on hand to supply more than 7,500 existence to its customer service, attention to security walkways where organisers needed
Trakway panels to the two V Festival sites. Also detail and meticulous project management. By complete confidence in the ability of the barriers
supplied was a pedestrian footbridge, barriers, building great relationships with customers, and to handle the large crowd pressures.
anti-climb fence panels and other kit. by employing fully trained and qualified staff, The V-Festival relies on Mojo’s extensive
At Hylands Park, Chelmsford, Eve put 750 it has found that keeping up impossibly high product range, with curves and gates allowing
hybrid box panels together for the biggest standards is actually very possible. specific barrier configurations. The flexible Mojo
pad it has ever assembled, under the Virgin bar barrier system was utilised at wristband
Media Stage platform, and used a new clamp BARRIER SAFETY exchange areas in addition to public concessions
attachment to drop Trakway into place for the Mojo supplied over 1,000-metres of barriers at including food and drink outlets.
MTV Stage, slashing the installation time. both V Festival sites - Hylands Park, Chelmsford, Kevin Thorborn of Mojo Barriers UK
Festival Manager, Simon Forshaw, and Weston Park, Staffordshire. Contracted commented: “Having the wide variations of
commented: “Eve gets the job done with by Roseclaim Ltd in the North and Maztec Ltd barriers allowed us to support the organisers
a remarkable amount of pace and it’s very in the South, Mojo Barriers has worked at V on both sites to achieve their site plans with the
accommodating in terms of last minute changes Festival for over 15 years, and the event is one appropriate equipment for the specific purpose.
to configurations - which is essential on a of Mojo UK’s largest annual events during a “Logistical operations are always tight at this
festival site.” busy time in its summer calendar. time of year and the load out poses a particular

72

Opposite: Thanks to Showsec’s close liaison with Staffordshire Police, a significant reduction in the number of crime-related
incidents contributed to the success of this year’s V Festival.
challenge for us. Weather plays a huge part in
the success of this operation as all the kit needs
to be separated on site and sent to various
locations across the UK and in Europe, ready
to be built in time for shows the following
weekend.”
SECURITY
Showsec demonstrated once again the value
of working closely with the Police on initiatives
to combat crime at this year’s V Festival, and
in doing so, helped to improve the customer
experience for thousands at Weston Park.
The crowd management and event security
specialists implemented its Crime Reduction
Strategy as part of an extensive operational
plan geared to providing a safe and enjoyable
environment for those visiting the Staffordshire
venue.
A significant reduction in the number of
crime-related incidents contributed to the
success of this year’s V Festival and highlighted
the impact of Showsec’s close liaison with
Staffordshire Police in the effective delivery of
that strategy.
As a result of an ongoing commitment to
raising standards, the Company not only works
hand-in-hand with the police at festivals, but in
some cases is an extension of their services and
can operate as a substitute for them in certain
roles.
“The planning phase was centrally focused
on the delivery of a security and crowd
management operation taking over a number
of onsite policing roles in order to proactively
reduce crime,” explained Mark Logan, Showsec
Director who was at the head of a vastly
experienced management structure put in place
by the Company.
“In liaison with Staffordshire Police, we
employed a number of systems such as
enhanced search, crime teams and plain clothes
operatives, all of which have contributed to a
reduction in the year-on-year crime figures for
the event.
“While the central focus was on crime
reduction, this did not dilute our core operating
ethos of providing a high standard of customer
service.”
Logan was supported by three of the
Company’s Regional Managers, Steve Reynolds,
Richard Church and Scott Anderson, who all
fulfilled key operational roles. On top of that,
Martin Lewis, one of several Area Managers on
duty throughout V Festival, was in charge of the
Crime Reduction Strategy as Showsec deployed
a 150-strong management and supervisory
team to direct more than 1,300 security staff
across both the main arena and the camp sites
within the grounds of Weston Park.
Andy Redhead, V Festival Organiser,
said: “We are continually striving to improve
the V experience and enhance the event’s
long-established reputation for being one of
the biggest and best festivals in the United
PRODUCTION PROFILE: V Festival
Kingdom. For us to be able to continue raising
the bar, we need the support of a strong team
of professional agencies. SUPPORT THAT
“In the two years they have now been
involved with us at Weston Park, Showsec have
MATTERS
certainly made a significant contribution and
the way in which they have worked so closely
with Staffordshire police has certainly helped us
to make important strides forward.”
Superintendent Elliott Sharrard-Williams, V
Festival Police Commander, added: “We are very
pleased with the weekend’s policing operation.
“Our officers, staff and members of the special
constabulary have been working closely with
event security teams to ensure everyone has
been able to enjoy the festival and stay safe.
This year, we shared several of the traditionally
police-led activities with Showsec, including the
search operation and patrol functions.
“In order to ensure that the festival was a
success, we have been working closely with
Showsec and the event organiser for near-on
twelve months. During this time, we have
intricately planned the crime and safety aspects
of the festival and it has been a successful
event.
“V Festival is like dropping a small town on
Weston Park. Of course, with so many people
looking to enjoy themselves, some criminals will
try to target visitors, so it’s really pleasing that
the crime numbers were significantly reduced
compared to previous years.
“We had officers working around the clock
and not just within the park; neighbourhood
officers have been on regular patrol in the SEE US AT TH
E
local communities and our Road Crime team to LDI SHOW
support the traffic flow around the area.” STAND 2331
AND
He concluded:”This has been a real team PLASA STAN
D N40
effort: event management, security teams and
dozens of other partners have worked together
to make the weekend a success, and we have
already begun to plan for next year.” WHEN SAFETY COUNTS
Logan added: “We set ourselves a series YOU CAN RELY ON
of auditable targets in our second year onsite PROLYTE TO PERFORM
at Weston Park in seeking to provide a high
standard of customer service. Prolyte manufactures carefully engineered
“An example of that was that with the help products supported by a wealth of specialist
of the festival organisers Roseclaim, we really knowledge, practical experience and user
focused on delivering a bespoke service to feedback. The company is passionate about
the disabled areas borne out of experienced
improving standards and actively promotes
industry practice. This married up the central
the transfer of information to increase
features of customer service in the arena market
with the complexity of delivery to the festival awareness of safe working practices.
environment. Compliance with the strictest standards
“While delivering our aims, the Company and regulations, rigorous quality control,
has continued to grow in its knowledge of the publication of technical data and the Prolyte
site and to ensure we engineered the crowd
Campus training program sets Prolyte apart
management plan to maximise the safety and
enjoyment of our customers and the performing from the crowd. Because safety matters.
talent.”
WWW.PROLYTE.COM
AUDIO FACEBOOK.COM/PROLYTEGROUP
TWITTER.COM/PROLYTE
SSE Hire continued its long established
relationship with the V Festival in August,
deploying L’Acoustics systems on four stages
73
PRODUCTION PROFILE: V Festival
Below: Two Soundcraft Vi 6 consoles were employed at FOH and monitors for headliner Alex Clare at the Chelmsford site; The MTV Stage, complete with the SSE-supplied L-Acoustics K2 system.
across two sites.
SSE has supplied audio for the two sites
each year from the beginning right up to this
Summer. This year, L-Acoustics systems were
provided for both the main (Virgin Media) stage
and the second (MTV stage) on both North
and South sites. With fast changeover times
and each band playing both sites over the two
days, it made sense to provide virtually identical
systems to each site.
SSE deployed L-Acoustics K1 systems for
the Virgin Media Stage in both Essex and
Staffordshire, each comprising main L-R
arrays with 12 x K1, six K1SB and three KARA
underhangs per side. Additional outhangs of
six K1 and three KARA were provided on both
stages, with delays of K1 and VDOSC rigged
to provide consistent SPL’s within the listening
area, but tailored to the different geography of
the two locations.
Controls and monitors for both sites were
the same, with SSE’s DriveRack providing overall
system control, each running LA Network
Manager-2 Software and SMAART software for
control and analysis. Two Avid Profiles in flip flop
configuration were provided on each site, with
two Yamaha PM5Ds on Monitors - again on
both sites.
Over on the MTV stages, SSE Project
Manager Miles Hillyard opted for a system using
exclusively L’Acoustics K2 line array cabinets.
74
This was actually the largest deployment of K2
this Summer for SSE, with 32 K2 units per stage.
As with the main stage, a pair of Avid Profiles
were used at FOH, while Yamaha PM5Ds were
provided for monitors with overall system
control once again from SSE’s proprietory
DriveRack.
Project Manager at V Festival’s Staffordshire
site, Dan Bennett said of the new L-Acoustics
K2 system: “The K2 is the perfect system for an
outdoor festival of this size. Once you get used
to the angle options, its a very flexible system.
Its been very well received by the engineers at
V.” heavy, dynamic sound on stage.”
Headliners for the two nights were Justin
Timberlake and The Killers for the main stage
and Elbow and Axwell Ingrosso on the MTV
stage, with other acts including Ed Sheeran,
Paolo Nutini, Tinie Tempah and the Manic Street
Preachers (although the Manics were ultimately
unable to perform in Chelmsford as they were
stranded in Hungary).
The dual-sited V Festival came in the middle
of SSE’s busiest Summer to date, making up
four of the 34 festival stages supplied with
L-Acoustics systems by the hire operation
between June and August. As soon as the
systems tipped at Redditch on the Monday, they
were prepared and dispatched for the Summer’s
other major two-site festival in Reading and
Leeds for the following weekend.
NEW TALENT
Singer-songwriter Alex Clare headlined the
Future Stage at the Chelmsford site, with The
Old Lion Touring Company providing a pair of
Harman Soundcraft Vi6 digital consoles for FOH
and monitors.
According to Alex Clare’s FOH engineer
Harry Devenish, Clare’s performances showcase
a human approach to electronic music. “Alex’s
performances fuse the weight and power of
electronic records with live elements,” he said.
“A lot of that is due to the bass setup - the bass
guitars trigger a synth and a sub, creating a
Devenish has significant depth of experience
with the Soundcraft Vi6, having used one of
the first models several years ago. “I come from
more of an analogue background and was
slow to embrace digital, but I’ve always been
comfortable with the Vi6,” he said. “It has a
very intuitive surface, with hands-on encoders
and two layers, it’s very flexible. You can do a
lot on the Vi that you can’t do on other digital
desks.”
“Vi Series consoles are so easy to work on,” said
Tim Boardman, Tour Manager for The Old Lion
Touring Company. “I’m from the studio world
but I can walk up to the Vi6 and make it work,
which is saying something!”
In the autumn, Old Lion will provide a
Vi3000 and Vi6 console for a 10-week tour
 Chaos Visual Productions Ltd
Bedford Technology Park // Thurleigh // Bedfordshire // MK44 2YP
P:+ 441234 780 120 F: + 441234 780 121 E: uk@chaosvisual.com

LOS ANGELES NASHVILLE UNITED KINGDOM

seeing is believing.

visit us at LDI Las Vegas, 21-23 Nov, booth 1275.

www.d3technologies.com
PRODUCTION PROFILE: V Festival
Below: A Yamaha PM5D console at the monitor position in the MTV stage; Eve supplied more than 7,500 Trakway panels to the two V Festival sites for production logistics.
with Clare, where Boardman
and Devenish plan on using the
Soundcraft Realtime Rack library
of plug-ins from Universal Audio.
“We’re really excited about
using the Realtime Rack library,”
Boardman noted. “Bringing those
effects that are predominantly
used in studio settings to live
performances makes a lot of
sense.”
“Realtime Rack will be massive for
us!” Devenish remarked. “The Vi6
is already a convenient console
to work on and this will take the
performance up another level.”
VIDEO
XL Video were once again involved
on both V Festival sites, with Lee
Spencer and Paul McCauley project
managing the site at Weston Park,
and Paul Wood project managing
the Hylands Park site.
XL Video supplied 12 Sony
HXC-100 cameras and three
Camera PPUs (Grass Valley Karrera,
and Kayak-based systems, plus
a Panasonic AV-HS450-system)
Meet us at PLASA
Stand D77, 5-8 October
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76
for the Weston Park site. Camera
directors, engineers and camera
operators were all supplied by XL
Video.
At the second site in Essex, XL
Video augmented the broadcast
setup with dedicated cameras and
PPUs for the IMAG screens, which
also took feeds from the broadcast
cameras.
At both sites, the Arena stage
had projection IMAG using Barco
projectors and 16 by 12 metre
screens.
This year XL Video also supplied
the onstage screens for Stage 2
and stage 3 at both sites. On the
MTV stage, Elbow and Axwell
& Ingrosso each used its Pixled
F-12 screen for their sets - 100
sq-metres for Elbow and 170 sq
metres for Axwell ^ Ingrosso -
who also used 25 sq metres of
F-12 around their bespoke DJ
booth, and topped off with Barco
HDQ2K40 projectors at FOH for
their intro sequence.
The Arena stage was kitted
out with ROE MC-7T LED screen at
10/09/14 14.14
PRODUCTION PROFILE: V Festival
Below: White Light provided production solutions for Lucozade Energy’s Yes! festival tour which featured at V Festival. Supplied was a selection of Fusion LED battens, Martin Professional Mac
Auras, Clay Paky Alpha Beam 300s,Philips Color Kinetics Colour Blasts, Atomic Strobes and Look Solutions smoke and haze machines.
both sites. 30 sq metres of MC-7T
was employed with a Resolume
media server that allowed all the
acts to use the screen for logos
and graphics, with the headline
acts such as Chase and Status,
and Alesso making use of an extra
section of the MC-7T for their DJ
riser front.
On the Main stage Paolo Nutini
78
utilised XL Video’s ROE MC-7T LED
screen as a back screen, measuring
in at 12 metres by six metres. XL
Video’s new versatile touring frame
proved its worth as it allowed
the LED screen to be de-rigged
completely during the 30 minute
changeover and ready to load on
the truck before the Killers were
due on stage.
STAGING
“If it ain’t broke, don’t fix it” was
the staging mantra at V Festival
this year. The main Virgin Media
stage at both Hylands Park and
Weston Park once again featured
Stageco’s standard 4-Tower Roof,
with Patrik Vonckx and Hendrik
Verdeyen heading the respective
crews.  Star Events Group has been
“Although there are bound to
be some changes in the future,
our 4-Tower format has proven
to be a very successful format to
date,” commented Stageco project
manager Dirk De Decker.
Heavily involved in the V
Festival since it began in 1996, a
crew of steel fixers and climbers,
steel hands and plant operators
from east London-based Showstars
assisted Stageco on the three-day
build program at Hylands Park,
while the company also provided
site-wide crew consisting of up
to 27 multi-skilled personnel who
were on call for over three weeks.  and mast loads to PA support, and
Showstars’ operations director
Stuart Milne said: “V is always a
very popular festival to work on
and there is always a good vibe,
regardless of the tight schedule
and often unpredictable weather.
Many of our crew regard it as the
highlight of the summer season.”
STRUCTURAL BENEFITS
supplying stages 2,3,4 & 5 - plus
ancillary equipment - to the V
Festivals since 2006. This year,
the company deployed over 80
structures across both events,
including the observation towers in
the campsites.
Stage 2 is a flagship 20-metre
VerTech system, with wing portals
and access designed specifically for
each site, while the others are Big
Top-based platforms.
Given Star Events’ long history
with the events, the Vs have felt
the benefit of VerTech’s ongoing
development, from improved grid
latterly, the introduction of Active

Roof Technology, which enables real time load
analysis in the roof.  worked with TRO to deliver highly successful
Pete Holdich, Head of Structures at Star Events,
commented: “ART is a system we’ve been
working on for some time and the management
teams at both V Festivals have been enthusiastic
supporters.
“With more artists bringing their own
productions to the festival environment, it
has become increasingly important to be able
to accurately check the pre-event rigging
information and ensure the roof loads remain
within limits, so any show day changes can be
dealt with efficiently.”
ENERGISING EVENTS
Making 2014 a summer to
remember, entertainment lighting specialist
White Light was tapped by experiential agency
TRO to provide production solutions for
Lucozade Energy’s Yes! festival tour. The unique
brand experience events were designed to
promote Lucozade’s popular energy drink brand
to thousands of guests at the UK’s biggest
summer music festivals. The Lucozade Energy
Arena visited V Festival, Global Gathering and
T in the Park music festivals during the 2014
summer season.
The focal point of the pop-up event was the
Energy Arena which invited visitors to enjoy
free activities including the brand’s well-known
nightly silent disco. Since 2012, White Light was
Luczade branded events during each festival
season. For the 2014 season, the Energy Arena
was completely redesigned to incorporate new
activities areas for body zorbing as well as new
seamless plasma screen walls to showcase
visitors’ tweets. White Light Project Manager
Dominic Yates worked closely with TRO’s Anne
Mcpherson to design and deliver the event’s
new look.
Mcpherson commented on working with
White Light over the years: “The White Light
team has been excellent to work with. Since
our very first event together the TRO and White
Light teams have worked seamlessly with some
amazing results.”
White Light supplied lighting, AV, sound, We were able to bring good quality home style
rigging and power distribution for the Energy
Arena, as well as on-site crew to build, run,
and strike each event. Key equipment included
Fusion LED battens, Martin Professional Mac
Auras, Clay Paky Alpha Beam 300s, Philips Color
Kinetics Colour Blasts, Atomic Strobes and Look
Solutions smoke and haze machines. On-site
setup included a full sound system setup, a
9x9 seamless plasma wall and Prolyte truss
structures.
White Light crew for the three events
included on-site technicians Martin Strods, Alan
Kiernan, Marc Thornton with lighting design
PRODUCTION PROFILE: V Festival
and project management by Dominic Yates.
CATERING
Eat to the Beat provided catering for breakfast,
lunch, dinner and overnight meals at the
Chelmsford site. Eat to the Beat provided over
14,000 meals as well as dressing room rider
requirements for 80 artists, including headliners
Justin Timberlake and The Killers. Drinks were
available at nine stations over a 24-hour period
at stages, production, dressing rooms and, of
course, at catering.
40 Eat to the Beat crew members were hard
at work in the kitchen over 14 days on site.
Eat to the Beat’s Kim Joyce commented: “Our
team worked hard rain or shine, day and night
to make sure our standard was above the rest.
cooking meals to the middle of a muddy field in
Essex.”
TPi
Photos: Martin Strods, Soundcraft and Eve.
www.eattothebeat.com
www.xlvideo.com
www.evetrakway.co.uk
www.mojobarriers.com
www.showsec.co.uk
www.sseaudiogroup.com
www.stageco.com
www.stareventsgroup.com
www.whitelight.ltd.uk
79
 PRODUCTION PROFILE: Rock en Seine

ROCK EN SEINE
THE FRENCH MUSIC FESTIVAL ROCK EN SEINE TAKES PLACE - AS ITS NAME IMPLIES - ON THE BANKS OF
THE RIVER SEINE IN PARIS. FIRST ESTABLISHED IN 2003, THE FESTIVAL HAS BECOME ONE OF FRANCE’S
MOST POPULAR AND ATTRACTS OVER 110,000 SPECTATORS OVER THE COURSE OF THREE DAYS, WITH 65
BANDS - THIS YEAR INCLUDING ARCTIC MONKEYS AND THE PRODIGY - GRACING FIVE DIFFERENT STAGES.
PATRICK MCCUMISKEY WENT BACKSTAGE AT THE FESTIVAL.

In the August heat of France’s rock ‘n’ roll
underbelly, a Parisian festival is underway
with its biggest production feat to date.
The production company in charge of video
distribution at Rock en Seine was sombrero
and co. Based in Paris, France, sombrero
and co has an array of Blackmagic Design
video production equipment at its disposal
- many of which were utilised in the video
production at Rock en Seine. As well as
in Paris, Sombrero and co can be found
working with Franco-German TV channel
Arte, exchange TV Rennes in Brittany, with
TBsud and TBO for Les Vielles Charrues
festival, Les Transmusicales de Rennes
and La Route du Rock de Saint Malo. In
Normandy, sombrero and co also works
with France 3 for the Jazz festival, Jazz Sous
Les Pommiers. Additionally, sombrero and
co was present at the Hellfest metal music
festival in June, where it provided video
coverage for four stages and broadcast
needs of four different websites and TV
channels.
“At sombrero and co, we are quite a unique
group,” said Julien Brunet, Video Production
Coordinator at sombrero and co. “We have
some of the best video production crew in
France. Each crew member has experience of
working on productions not just in France, but
also internationally. We are all united in the fact
that we want to place quality of life over busy
touring schedules. This way, when we work on
projects such as Rock en Seine, we are focused
and passionate - its not just another job.”
Logistics is a word that the sombrero and
co crew know all too well - the amount of
set-up and planning that operating a video
system for a festival of this size requires is no
straightforward task.
“sombrero and co look after two things
here at Rock en Seine,” said Brunet, massively
underplaying sombrero and co’s role at the
festival. “Firstly, we ensure that the cameras - a
mixture of Sony PMW 500’s and Panasonic P2’s
- on the Grande Scène (Main Stage), Scène de
la Cascade (Cascade Stage) and the Scène de
l’Industrie (Industrie Stage) - the three largest
stages - feed their content to our control rooms.
We produce a live mix with the images captured
with Blackmagic Design’s ATEM switchers and
disperse the live images from each stage to
the relevant LED video screens on the stages.
Secondly, we record - also through Blackmagic
hardware - the shows to be edited and then
distributed later on TV.”
TECHNICAL PRODUCTION
For the technical production, Brunet used a dual
optical fiber ring throughout the festival site for

80
 PRODUCTION PROFILE: Rock en Seine

Opposite: Rock en Seine, on the picturesque banks of the river Seine in Paris, attracted over 110,000 spectators over three days.
Below: Blackmagic Design hardware played a key role in the video production at the festival.

TRUSS YOU CAN TRUST

signal transmission. All in all over 3km of optical HIGH QUALITY EDITORIAL CONTENT
fibre was in place, which ran the length of the sombrero and co uses the Blackmagic
very long, narrow festival site running adjacent DesignATEM 2 M/E Production Studio 4K for
to the river Seine. This allowed for a very tough its video mixing at live events, such as Rock
and reliable festival set-up, and flexible in en Seine. TPi saw the ATEM 2 M/E in action at
the sense that small issues could be resolved the Cascade Stage, which controlled the feeds
quickly and efficiently whilst the live production from eight cameras on stage (some operated
continued. by cameramen and women, some robotic) and
The optical fibre network was complemented also video content in between the bands for the
by a variety of Blackmagic Design’s Smart
Videohub routers, which were in place in each
adverts / short films / trailers that run during set
changes. This was done with by connecting a
QUALITY
of the stages’ control room to manage signal laptop with one of Blackmagic Design’s DeckLink
distribution across the festival site. Videohub - a capture cards running through the ATEM.
AVAILABILITY
powerful broadcast grade routing switcher - Terry Viellneuve, brother of sombrero and
allows the user to connect equipment and easily co founder Patrick Viellneuve, was at the helm RELIABILITY
change connections from a computer or laptop. of the ATEM 2 M/E switcher backstage at
There was a Smart Videohub 40 by 40 (40 Cascade Stage’s video control hub. It was quite INNOVATION
inputs) on the Scène de l’Industrie and the other an experience to watch Viellneuve directing his
two stages had Smart Videohub 16 by 16. orchestra of cameras in a torrent of words and
The key to Videohubs popularity is its sharp actions - this was a man completely in
usability and flexibility. A technical operator like tune with his ATEM machine.
Brunet can simply select a signal, and choose The content produced by the ATEM 2 M/E
where it needs to be directed to using buttons Production Studio 4K was used to serve three
on the Videohub’s front panel, or with Smart main purposes. Firstly, the video content was
www.GlobalTruss.cn
Control software. broadcast on the big screens at either side of
Brunet used Blackmagic Design ATEM Studio the stage. Secondly and thirdly, the content
phone: +886-2-27209866
Converters to transmit the HD Video signals was broadcast by the regional TV stations that
through the optical fibre network to the various Sombrero collaborates with and also for live International distribution
control rooms. Due to their robust design, the streaming / online videos for Culturebox, a Europe: www.globaltruss.de
ATEM Studio Converters are perfect for outdoor branch of French Television. Germany: www.globaltruss.de
France: www.globaltruss.fr
live event production, as they enable high “On events like Rock en Seine, we are Spain: www.fenixlt.es
quality bidirectional video signal transmission generally involved with streaming web content India: fb.com/stardimensionsindia
Australia: www.dq.com.au
for cameras situated long distances from the too,” confirmed Brunet. sombrero works Americas: www.cosmictruss.com
switcher. together with several French television channels Chile: www.valook.cl
India: www.modernstageservice.in
Brunet added: “For us at sombrero and with regards to creating live streams. “When S.E.Asia: www.globaltruss-sea.com
co, Blackmagic Design’s Videohubs and ATEM we work with local TV channels, the deal is Singapore: www.excelsingapore.com
Lebanon: skypub17@hotmail.com
switchers are essential for our set-up. We have usually that we use some of their technical Japan: www.soundhouse.co.jp
always incorporated them into our production equipment and personnel, and in return we Taiwan: www.ezstage.com.tw
Dubai: www.desertbeat.com
with ease - we need great flexibility in our let them the rights for broadcasting the event. Saudi-Arabia: www.jzacca.com
operation, and Blackmagic Design’s products This way it helps us stay close to the place, to
allows for this.” the people, and this gives us obvious logistical facebook.com/GlobalTruss

81
PRODUCTION PROFILE: Rock en Seine
Below: The Cascade stage’s video production room, complete with Blackmagic Design’s ATEM 2 M/E Production Studio 4K.
benefits - instead of travelling with
a lot of people and equipment all
around the country, we can share
equipment, for example.”
Seeing as the content is
broadcast on television and
the internet, content has to
be premium, particularly for
82
Culturebox, and so the equipment
has to be of the highest technical
grade. “sombrero and co needs
professional content production
from equipment that fits the
production budget. As a result,
Blackmagic Design fits our
purposes perfectly. That’s why
Blackmagic will continue to be our
first choice for these events,” said
Brunet.
STAGE PRODUCTION
For the third consecutive year,
Stageco supplied and built two
arched stages - a 26-metre by
20-metre Boogdak XL for the
Grande Scène and 18-metre by
14-metre Boogdak for Scène de la
Cascade, the second stage - which
shared a similar décor theme. Two
FOH towers, two delay towers
and a pair of camera platform
/ towers for the Grande Scène
were also provided within the
Stageco package. A Stageco crew
of 14, supported by local labour
hired by the company, took five
days to build both stages from
16 truckloads of equipment. The
project also involved installing
large docking platforms and
loading areas behind each stage
and a customised stage header
for Grande Scène. The company
worked in close cooperation with
the festival organiser to ensure
that the rigging and front of stage
additions such as catwalks and
stairs met the requirements of all
artists. A dedicated team of six
was provided by Stageco to action
these changes in between shows.
AUDIO
ONOFF, a French audio company
which specialises in rock concerts,
worked once again with with Rock
en Seine, having been involved
since the beginning 12 years ago.
ONOFF supplied the main three
stages with an extensive array of
d&b audiotechnik loudspeakers
and amplifiers, in addition to other
high quality equipment.
Included were three E3 and 12
J12 TOP loudspeaker cabinets, 52
J8 TOP cabinets, 12 V8’s, 44 J-SUB
bass units, 12 Q1’s, two Q-SUBs
and six T10 loudspeakers. For
amplification, 12 d&b audiotechnik
D12’s, two D6’s and 36 D80’s were
employed. “Our highlight for 2014
was to introduce a massive use of
d&b audiotechnik’s new D80 four
channel amplifiers, deployed on
just LEDs
@ plasa london
ExCeL 5-8 October 2014
Booth E40

P8 / sparx10
Come and see us at PLASA
and catch up on the latest developments in
LED technology.

JB-Lighting Lichtanlagentechnik GmbH

Sallersteig 15 · D-89134 Blaustein
Phone +49 7304 9617-0 · Fax +49 7304 9617-99
www.jb-lighting.de
PRODUCTION PROFILE: Rock en Seine
Below: Paris based CKV2 Lighting provided an assortmemt of Clay Paky and Martin Professional features for the main stages, in addition to MA Lighting consoles.
three of the four stages,” said Nicolas Delatte
of ONOFF. “The amplifiers were fully Ethernet
controlled and AES / EBU fed. This was, believe it
or not, the first time this set-up was employed in
France.”
One Klark Teknik DN 370, two Lake LM 44’s,
four d&b audiotechnik R70 Interfaces and one
Motion Tablet PC with d&b audiotechnik R1
remote control software and Lake controller
software handled equalisation. The consoles
employed on the main stage - which catered
to the plethora of visiting engineers of the
headlining acts - included a Avid Profile
complete with a Avid Stage Rack, and also a
Midas Heritage 3000.
Monitoring was again via d&b audiotechnik,
with four B20 subs, 10 C4 subs, eight C4 TOPs,
12 M2’s, six Max 115’s and two Q-SUBs on
stage, amplified by 14 d&b audiotechnik A1’s,
nine P1200As and four D12’s. Equalisation came
in the form of a Klark Teknik 16-channel rack,
with a Yamaha PM5D-RH and a Midas Heritage
3000 sharing console duties.
LIGHTING
Supplying lighting fixtures for Rock en Seine
was Paris, France based CKV2 Lighting. “We
began to do Rock en Seine’s lighting design 10
years ago,” said Frederic Fayard, CKV2 Lighting
Manager. “The expert Lighting Designer in
our company is Philippe Marty, who designed
the lighting on four of the stages at this years’
festival.”
At the Grande Scène - hosting headlining
bands such as Arctic Monkeys, The Prodigy and
Queens of the Stone Age - Marty specified 18
Clay Paky Sharpys, 16 Martin Professional MAC
Viper, 18 Martin Professional MAC 2000 Wash
XBs, 48 Martin Professional MAC Auras, 27
Martin Professional Atomic 3000 DMX strobes,
and two Robert Juliat Lancelot followspots
controlled by two MA Lighting grandMA full
size consoles.
84
Fayard continued: “Clay Paky have produced
a lot of great performing fixtures in the last few
years such as the Sharpy, A.leda and B-Eye; the
same goes for Martin, with great fixtures like
the Aura and the MAC 2000 Wash XBs. These
fixtures allow for great flexibility, performance
and stunning visuals. For us, these fixtures are
especially important for large-scale festivals such
as Rock en Seine, simply because of the sheer
diversity they offer in terms of performance.”
Fayard continued: “There are many challenges
from a lighting perspective for a festival such as
Rock en Scene. Firstly, we have to find the best
compromise for the headliners. The lineup is
very impressive for a French festival because we
welcome the biggest international stars. So we
talk a lot with product managers and lighting
designers to make the best choices.
“Many bands play during the day light, so
the design has to be powerful and effective,
and we try to ensure a good overall look.”
The Scène de la Cascade (Cascade Stage), the
second largest at the event, was again built by
Stageco, comprising a two-level FOH tower and
additional camera platforms and towers.
Four d&b audiotechnik J12 cabinets, 24 J8
TOPs, 18 J-SUB bass units, four E8’s, three D1B
E3’s, six Q1’s and four C6 cabinets were utilised
as part of the line array system, amplified by 36
d&b audiotechnik D12’s and two D6 amplifiers.
For equalisation, one Klark Teknik DN 370, one
Lake LM 44 processor, and one Motion Tablet
PC - again comprising audiotechnik R1 remote
control software and Lake controller software
- were employed running through a Midas
Hertiage 2000 and Midas PRO2 desk.
For monitors, four d&b audiotechnik C4
subs, two C4 TOPs, 16 Max 15’s and two
Q-SUBs were employed on stage, amplified with
two d&b audiotechnik D12’s and 10 P1200As.
Seven Klark Teknik DN370’s equalised the
monitor signals fed through one Midas XL250
and one Midas XL8 console.
Illuminating bands such as Blondie, La Roux
and Wild Beasts were a selection of 26 Martin
Professional MAC Vipers, 18 Clay Paky Alpha
Beam 700’s, 34 Martin Professional MAC
Quantums and 19 Martin Professional Atomic
3000 DMX strobes controlled by two MA
Lighting grandMA2 lighting consoles.
The Scène de l’Industrie - the third largest
stage at the festival - hosted acts such as
The Horrors and Mac Demarco. Audio at
the Scène de l’Industrie was again made up
of d&b audiotechnik equipment, including
16 V8 line array speakers, eight V-SUBs,
four Q7’s and four J-INFRA sub bass units.
Amplification came in the form of six D80
amplifiers, whilst one Klark Teknik DN 3600
handled equalisation. A Soundcraft Vi6 console
handled the mix at FOH position. In monitor
world, four d&b audiotechnik C4 subs, two
C4 TOPs, 12 Max 15’s and two Q-SUBs were
employed. Amplification was dealt with by eight
d&b audiotechnik P1200As and two D12’s,
plus a Yamaha PM5D RH console for mixing
requirements.
A total of 18 Clay Paky Alpha Spot HPE 700’s,
34 Martin Professional MAC Auras, eight Clay
Paky A.leda K20’s, 15 Ayrton Rollapixs and 80
Oxo MiniBeam LEDs were utilised and controlled
via an MA Lighting grandMA2 lighting console.
In conclusion, its fair to say that Rock en
Seine is a production which is increasing in
magnitude each year in every respect. As crowd
numbers increase incrementally year on year,
it will certainly be interesting to see where this
production goes in the future.
TPi
Photos: Patrick McCumiskey and CKV2 Lighting
www.sombreroandco.fr
www.rockenseine.com
www.blackmagicdesign.com
www.stageco.com
www.onoffaudio.fr
www.ckv2.com
 INTERVIEW: LeRoy Bennett

A MUSICAL VISIONARY
‘AS A CHILD, WHAT DID YOU WANT TO BE WHEN YOU GREW UP?’ IS A COMMON INTERVIEW QUESTION,
BUT FEW GIVE AN ANSWER THAT ACTUALLY BECOMES REALITY. WORLD-RENOWNED LIGHTING DESIGNER,
LEROY BENNETT HAS MEMORIES FROM THE AGE OF FOUR, WHICH HE KNOWS PLAYED A PART IN HOW HIS
LIFE TURNED OUT TODAY. TPi MET UP WITH THE LD IN MELBOURNE, AUSTRALIA, DURING THE ENTECH
CONNECT SHOW, TO FIND OUT WHAT MAKES HIM TICK. THE ANSWER BEGINS WITH MUSIC...

Anybody who is anybody in the live touring
market will have come across the name
LeRoy Bennett - famous most recently for his
work with Beyonce, Bruno Mars and Lady
Gaga to name just a few - but since he has
never spoken out publicly about his life and
career, few may know his back story and just
exactly how he got his first big break, the
legend… Prince.
Taking to the seminar stage at Entech
Connect for his keynote presentation, Designing
and Creating Emotions, it’s clear from the
outset that Bennett is a humble and charismatic
character, almost as if he doesn’t quite realise
how much he is in fact admired by his peers.
Speaking in front of a virtually full seminar
room, it was obvious he is more used to being
in the background rather than the foreground,
his softly spoken tones and down to earth
demure was at first somewhat reserved, but as
members of the audience sat listening intently,
at times gasping in amazement and at others
laughing in all the right places, he soon settled
into his well-earned place in the limelight. Born
into a musical family, his mother a trained opera
singer, Bennett was heavily influenced by music
- classical in particular - from a very young age,
and he credits this as a pivotal stimulus in his
life. What made music different for Bennett
though, was his ability to associate the music
with images, and quite seamlessly. He said:
“Even as far back as three or four years old,
music has always been a visual thing for me, I
had very vivid images of things when I heard
something.”
A combination of his mother’s passion for
singing and father’s design sense and creativity
shaped Bennett’s thoughts and visions of the
world, how he listened to music and how
music became a visual art form in his mind. “All
of these influences drove me in the direction
of where I am now, although at the time I
didn’t really have an inclining about what was
happening. It probably didn’t make sense until I
was about 19 years old,” he continued.
A few years prior to that, aged 15, Bennett
witnessed his first concert, Three Dog Night,
accompanied by his father. “I’d never been
exposed to a large pop concert in an arena.
It seemed like a huge crazy world, everyone
was older, had long hair, was smoking pot. It
was daunting but also intriguing. I was totally
transformed by that world and it was like having
a light bulb moment. It moved me so much that
it changed my life.”
Living by a mantra of ‘I love music, I live

86

Opposite: Lighting Designer, LeRoy Bennett in the arena and at his desk - an MA Lighting console; Bennett with Sir Paul McCartney, an artist he has been working with for 12 years.
it, breathe it, listen to it everyday’, naturally
became a concern for his parents as Bennett
graduated from high school. But the choices he
made did turn out to be the right ones. After
meeting a band from Rhode Island, who were
based in Washington DC and touring the East
Coast through a friend, he became their roadie
for 12 months. During that time, Bennett was
shown how to set up a basic light show and
how to control it from a console. He said: “At
that point I realised I could perform musically
without actually being onstage, which is where I
prefer to be.”
Upon returning home to Rhode Island, he
took a job in a small lighting company called
Polico and trained to be a technician, before
leaving home again a year later, to take up a
position at Zenith, a British company based in
LA. “The director at Zenith knew I wanted to be
more than a technician,” said Bennett. “He said
to me, ‘the next client that comes to us in need
of a designer, I’ll put your name forward’. The
next thing I know, that moment had arrived,
the director told some white lies that I had
experience, which was scary, but I knew I had
the passion to do it and knew I’d be able to do
what was necessary to get the job done. The
artist was Prince.
“The first week with Prince was a nightmare
but actually I was very lucky to work with him
off the back of nothing and there’s nobody
harder to work with than him, he’s the most
challenging artist I’ve ever worked with, but
he’s also the most rewarding.” After a settling
in period between the pair, Prince allowed
Bennett a free reign over design, as long as it
incorporated some of his visions too. “Prince
taught me a lot and pushed me further than I
thought I was capable of. I don’t think I could
have been any luckier in that part of my life,
although at the time I didn’t realise it,” he
explained. Bennett continued to work extensive
with Prince throughout the ‘80s and ‘90s.
Another artist Bennett holds close to his
heart is Trent Reznor, frontman of NIN, who
he has been working with for 15 years. “He’s
an amazing guy, much like Prince, very similar
in terms of their music and their thought
processes, how they perceive things happening.
A perfectionist, musical genius and a major tech
head.”
His work with Prince put Bennett on the
map, as Prince’s popularity grew, Bennett’s
reputation grew. Other artists came to see
the Prince shows and they began asking him
to work with them too. Other significant acts
included The Cure, Rammstein and then, Sir Paul
McCartney. “I’ve been working with Paul for
12 years now and the great thing about him is
he likes to do gigs in different places, different
arenas, alternative settings and that’s a real
challenge.”
Challenge, is ultimately what leads Bennett
to take on a particular project, whether it’s
a different kind of artist, a different kind of
music, a good song is a good song and Bennett
appreciates good talent. “I’ve worked with
true artists, great musicians, great singers,
songwriters and I’ve been very lucky to work
with these people throughout the majority of
my career. I’ll take on anything as a challenge,
things that I have never done before.”
One particular challenge Bennett took
on with McCartney was the NFL Super Bowl
Halftime Show in 2005. “This was the first time
I’d done anything of this scale so the pressure
was on, I had to design something that could
be put up and set up on the pitch within six
minutes,” he said. “The key in that situation
is not to panic. I’ve really learnt that there’s
more than one way to get the end result. You
have to understand the situation, be positive
and see the light at the end of the tunnel…
When I hit the power cable at the Super Bowl
and everything went up, I could finally breathe
again.”
Taking on project after project and making
each and every one different is no easy feat,
and something which Bennett finds difficult to
describe because, “what I do is not a formula,
and that is why I can’t explain how the process
happens. I can explain that certain things
inspire me though, things such as fashion and
“Prince taught me a lot and pushed me further than I
thought I was capable of...”
architecture, and I absorb all of that stuff and
use it in my designs.” It’s obvious the influences
behind Bennett’s work are important to him,
as he speaks about them so passionately.
When talking about any one of his creations he
becomes animated, listing detail after detail,
indicating that he remembers each and every
project on an individual level.
In the past Bennett has stated that
production design for him is about ‘architectural
emotion’. “Architectural emotion is… it’s
architectural to the lighting side of it, to the
structural side of it. It’s when you see something
and it evokes some emotion, relating to the
music, the artist, the vibe of what you’re trying
to portray in any project. It’s not just a structure
for a structure, it’s for a purpose, there’s a
reason why it looks the way it does, it’s an
expression of what you’re trying to present. So
it is an emotion because music is an emotional
experience and it’s about piecing those things
together,” he explained.
Having built up so much experience over
the years - having worked independently with
his own company, Dakana Design - Bennett
was keen to share this as a way to educate
the younger generation and to that end he
founded Seven Design Works in 2013 with Cory
FitzGerald and Tobias Rylander, who together
create a vast variety of concepts and designs
for all levels of artists. “I started Seven with
Cory and Tobias to be able to work with the
INTERVIEW: LeRoy Bennett
upcoming bands and basically just to do a lot
of different things. Right now, there’s a cross
pollination, we collaborate with each other and
we bounce ideas off each other,” said Bennett.
To date, the most notable collaborations are
Bennett and FitzGerald for the Bruno Mars,
Moonshine Jungle tour and the Balenciaga
Fashion Show in Paris, commissioned by
Alexander Wang for Bennett and Rylander.
Seven will expand in the future as more
people are brought onboard, programmers and
directors and those people will be coming in to
mentor others. “Somebody once described it as
me being ‘the master chef’ and nothing made
by the other chefs goes out to the table until
I’ve tasted it,” laughed Bennett.
There are plans in place to extend Seven
into Asia too, with the formation of a company
in China. “I’ve always had a fascination and a
love for China, I actually live there part-time
now too,” said Bennett. “The music scene
and touring industry is pretty new in China
compared to the rest of the world, it’s almost
a new frontier and that’s a challenge for me.
Not only because it’s a new frontier for them
but for me, it’s dealing with the challenges of
how things get done in China. The reason I’m
setting up the company is to mentor, develop
and educate young Chinese people and
companies to work in a Western way so that
they understand about being more efficient in
using technology, how to use the technology
and how to use it in a creative way too.”
Speaking about his own creative path and
looking ahead to the future, he noted that there
are many projects in the pipeline. However,
possibly the most exciting is something that
he has been sworn to secrecy over. The big
unveiling will be in the next 18 months, and it’s
something he describes as a game-changer.
By the time the interview - which took place
after the seminar in a more casual environment -
drew to a close, there was definitely a sense that
TPi had been given the privilege of meeting the
real LeRoy Bennett. Though his reputation may
precede him, the man behind the name is a true
genius when it comes to lighting design yet he
remains admirably grounded. Concluding, when
asked why he chose now to speak out about
his life story for the first time: “It was a moment
of weakness,” he laughed. Normally in these
situations, I’m busy or it’s just not something I
feel comfortable doing. But on this one, I didn’t
have any hesitation, it just seemed like the right
thing to do. I was like, ‘ok, I’m ready, let’s do
it’.”
TPi
Photos: MJ Kim
www.leroybennett.com
87
 CLOCKING OFF: Ice Bucket Challenge

Below: ALS and Macmillan both benefit from Ice Bucket Challenge charity donations. Jimmy Mac gets soaked, as do the TPi girls and DiGiCo’s James ‘Digger’ Bradley.

THE ICE BUCKET CHALLENGE IS AN ACTIVITY THAT GENERALLY INVOLVES DUMPING A BUCKET OF ICE WATER ON SOMEONE’S
HEAD TO PROMOTE AWARENESS OF THE DISEASE AMYOTROPHIC LATERAL SCLEROSIS (ALS) AND ENCOURAGE RESEARCH
DONATIONS. IT IMMEDIATELY WENT VIRAL ON SOCIAL MEDIA EARLIER THIS YEAR. HERE IS WHY SOME OF YOU GOT INVOLVED.

In the spirit of the current Ice Bucket
Challenge, we’ve seen many a familiar face
in the industry take the plunge. From the
lovely folks at DiGiCo and FOS Global, to
manufacturing giant SGM which handed
down a challenge to its closest competitors
to submit their automated lighting fixtures
to the ultimate ‘soak test’ - all of course in
aid of gathering charity donations.
Beardy Scot and backline maestro, Music
Bank’s Jimmy Mac, decided to look into the Ice
Bucket challenge after seeing a friend of his
from the US participate and share footage on
social media. Although being doused in freezing
water didn’t sound like Mac’s idea of a good
time, he acquiesced upon his nomination from
Marshall Amps after discovering the initiative’s
links to Macmillan UK.
“Macmillan UK is such a fantastic charity and
as I personally and so many of Music Bank’s
friends have been touched by cancer. Not only
did I have to do the challenge but I was also
proud to hopefully be able to help in any small
way I could. I hope those who see the video or
do it themselves will donate to their charity of media, please do one good deed this week, and
choice. And, of course, I immediately thought give back to a charity who might just mean the
of you guys as my victims, erm, I mean my world to someone else.
nominations!” he said.
Indeed, following his own soaking, Mac If you would like to upset your neighbours and
immediately landed TPi Editor, Kelly (Muzza buy one of Jimmy Mac’s 100% charity tee-shirts
as she’s referred to at HQ) with a nomination. (on behalf of Cancer Research UK) you can get
Again, there was no doubt that if looking in touch here: jimm@musicbank.org.
ridiculous on camera for two minutes could TPi
raise some money for charity, it was well worth www.alsa.org
doing. Like Mac, Muzza also donated to the www.macmillan.org.uk
amazing folks at Macmillan UK who on a daily www.dogshome.net
basis counsel, comfort and advise those hit by www.wateraid.org
the big C. Alongside Hannah (or ‘Eaks’ if you’ve www.cancerresearchuk.org
ever had to shout her across a busy bar), the
TPi lasses also donated to ALS and the recent
tragedy at Manchester Dogs home. It shouldn’t
take a dare or a hit to your street cred to make
you want to donate to a worthy cause, but if it
helps even a little bit, it’s surely worth it. And
yes, we also support Water Aid thanks to their
little helpers at Glastonbury. So whether you did
or you didn’t find yourself driving home in wet
underwear to not look like a coward on social

88
 COMPANY PROFILE: Robe

ROBE CELEBRATES 20 YEARS

ROBE NEEDS LITTLE BY WAY OF INTRODUCTION. THE CZECH COMPANY - CURRENTLY CELEBRATING ITS
20TH ANNIVERSARY YEAR - IS HAVING A BUSY MONTH WITH THE WORLD TOUR OF ITS LATEST PRODUCT
RELEASE, THE BMFL. WHAT BETTER WAY TO CELEBRATE ITS BIRTHDAY THAN WITH A COMPANY PROFILE
AND AN INTERVIEW WITH FOUNDING FATHER, JOSEF VALCHAR.

20 years ago, when the Czech Republic
was merely a year old, Robe (or Robe Show
Lighting as it was then known) was born.
Just two decades was all it took to grow
the company to the success story that it is
today; a company poised at the forefront
of show lighting technology employing
over 300 people at its primary 20,000 sq
metre premesis in Valašské Mezirící - a small
Moravian town in the south east of the
Czech Republic.
From the beginning, Robe’s philosophy
was to remain a grass roots company -
staying as close to its customers as possible,
listening to their needs, thoughts and wishes.
Valchar maintains that end users of Robe’s
products become part of the ‘Robe family’.
This philosophy remains so strong for several
reasons; partly because Robe’s two founders
/ owners Valchar and Ladislav Petrek are both
still actively involved in the day-to-day running
of the company. “I know it might sound like a
bit of a cliché, but we really are a family,” said
Valchar. “I believe that all that face-to-face
honest feedback and taking on-board people’s
perceptions of our company is vital.
“As CEO and General Manager of Robe, I can
be hands-on with product development. Linked
to that and equally important is being ‘out
there’ in the field, visiting shows, events and
projects and becoming personally acquainted
with LDs programmes, crew and other end
users.
“I like the fact that people feel they can
approach me directly if they have a special
project or product suggestion or even if they
just want to say hello. Many CEOs have an
‘unapproachable’ aura about them, but this
would not work for Robe.”
A BRIEF HISTORY
Petrek - a DJ in the late 80s and early 90s -
began importing PAR cans, mirror balls and
other lighting equipment from around Europe
in the immediate post-Velvet Revolution years
in Czechoslovakia. Valchar, a general lighting
graduate from Ostrava Technical University,
happened to be looking for a job in the lighting
industry. Petrek offered Valchar a job in his
company which was importing lighting effects
and undertaking installations in the Czech and
Slovak Republics. (And so, our story begins…)
“As an engineer, I was fascinated by the
products that Ladislav was using and importing
- and, in fact, in terms of engineering I could
quickly see that most of them were not that
well made!” said Valchar. “I suggested to him
that we should go into business developing
some of our own. This was the start of Robe
and so my first ‘industry role’ as such was
looking at product development for what
was then really still quite raw but definitely
burgeoning and emerging entertainment
industry lighting effects in that part of Europe.”
It wasn’t until 1994, however, that ‘Robe
Show Lighting’ was officially born, exhibiting

90

Opposite: The Robe factory building in the Czech Republic illuminated by Robe Anolis LED fixtures. Below: The BMFL - Robe’s latest fixture - is currently embarking on a world tour.
for the first time at Frankfurt’s ProLight & Sound
with its own scanners and sound activated
fixtures.
“For the first eight years, Robe became a
very successful OEM manufacturer supplying
many leading European moving light brands,”
continued Valchar. “Then in 2002, we decided
the time was right to launch ‘Robe’ as a brand
in its own right … and we have evolved from
there.”
In 2003, Robe UK Ltd., Robe America and
Robe Italia were established to manage the
expanding markets in these areas. Robe’s
ColorSpot and ColorWash 1200 AT Series were
launched in the same year, with its successor,
the ColorSpot 2500E AT fixture launched in
2006.
The success and popularity of these fixtures to make sure it’s absolutely spot on - and
paved the way for the ROBIN LED series in
2009, which still remains ever popular among
Lighting Designers. 2013 saw Robe capitalise
on the success of the ROBIN with the Pointe - a
multipurpose spot, beam, FX and wash light.
“We were confident that The Pointe would
do well, but I think everyone was surprised with
just how well it has done and the sky-rocketing
sales! There were many other beam light
products out there, and that why it was vital
that the Pointe offered so much more in terms
of features, brightness and build quality - as
well as being competitively priced.”
THE BMFL
The global launch of Robe’s hugely anticipated
new lighting fixture, the BMFL (the Bright
Multi-Functional Luminaire), took place
on 2 September this year. The launch was
broadcast via a worldwide video stream across
three time zones, and was watched by an
estimated 11,000 people, who pre-registered
on the special Robe Premier launch website.
Introducing the new BMFL, Valchar claimed: “I
think it’s the best fixture we have ever made.
“The BMFL has been three years in
development and that’s because we wanted
that it covers all bases. It had to be mega
bright because we wanted a signature long
throw moving light that was good for multiple
applications, and it took some years also to
develop the 1700W lightsource.”
The BMFL light source was custom designed
for Robe. The lamp produces a powerful
250,000 lumins at five metres, and light at a
CRI of 92. Furthermore, a refined optical system
giving 5 - 55 degree zoom results in a crisp,
COMPANY PROFILE: Robe
high quality fat beam that is truly homogenised
and without a hotspot.
“It also has fantastic colour mixing, ultra-
smooth dimming, and other key features like
no hotspot, dual animation wheels, two colour
wheels, multiple prism effects plus many other
unique ones like the EMS stabilisation,” added
Valchar. Aimed at long-throw applications, the
newly patented Robe EMS (Electronic Motion
Stabiliser) technology enables the BMFL Spot
to absorb vibrations from music and audio
sources, truss movement, sprung or suspended
floors
Furthermore, the new, high definition colour
mixing technology can produce a full spectrum
of colours. There are also two colour wheels
which include filters that can be utilised to
adjust colour temperature and improve the CRI
of the white output in aging lamps.
There are two rotating gobo wheels - each
with six slot and lock gobo positions and also
two Rotating Prisms. The Dual Graphic Wheels
both focus within the same focal plane, and
the rotation and movement can be individually
controlled and varied to create ultra-cool,
infinitely subtle special effects.
Frost and dimming functions provide further
effects; three grades of frost are available and
91
COMPANY PROFILE: Robe
Below: BMFL roadshow in Singapore with Josef Valchar, Robe CEO; Founder and part owner of Robe, Valchar; Robe Pointes bathed the Rolling Stones in light on tour. To date, the Pointe has been
included on countless headline tours worldwide.
the dimmer is exceptionally smooth with no
distortion, so the full beam width is visible right
up to the point at which it fades out.
Weighing in at just 36 Kg, the compact body
profile makes it a relatively lightweight fixture -
especially given its performance capabilities.
The BMFL World Tour began at Robe’s
global HQ in Valmez, Czech Republic, and is
currently making its way around the world.
By December, the BMFL World Tour will have
visited over 60 countries on all continents and
thousands of interested parties will have seen
and experienced the product.
As the last of the independently owned
major moving light manufactures, this
gives Robe several key advantages. Valchar
continued: “Being independent brings so
many elements to the equation. Firstly, we
can be very agile, make decisions quickly and
respond to market and technology trends with
immediacy, and that’s really important in this
industry, where the technology is constantly
changing.
“Secondly, we are in control of our own
destiny. There isn’t a hierarchy of middle
management or accountancy management
to negotiate through in order to make an
investment or a corporate financial decision.
“Related also to that is the fact that we
can recruit who we want to make up our all-
important management infrastructure - which
is extremely proactive, with much talent and
92
some diverse and interesting personalities.”
Robe’s freedom of manoeuvre has had a
direct influence upon its ability to invest in R&D.
Continued Valchar: “We have a team of around
25 people constantly working on different
products,” added Valchar. “Not all of those will
be developed for production, but we also keep
a close eye on how the relevant associated
technologies are developing. It’s important to
try and keep a step or two ahead! We could
have the best sales force in the world, but the
bottom line is that any company needs the right
products.”
According to Valchar, investment in R&D
is also essential for maintaining a healthy
relationship with rental companies. He added:
“It is very important to be in contact with
the rental companies as they are our major
customers and we want to have constant
feedback relating to their need and wishes.
They must feel comfortable when they invest
money in purchasing new products, so their
opinions count and help shape our R&D.
“Rental companies are also in tune with
what LDs are specifying, and can give us
valuable information and feedback about trends
and what’s being said and discussed.
“They also are a great sounding board for
the different regions and markets; for example,
the trends in Brazil will be very different from
those in Germany, so it’s another reason for
close contact with rental facilities worldwide.”
HAPPY BIRTHDAY
“We are very proud to be here after 20 years
and in the position we are at the moment,
which is among the leading moving light
manufacturers in the world. It is very satisfying
to see our products being used on some
amazing shows all over the globe.
“I hope that we will continue to be offering
great tools for designers and creative teams to
use in their various works, good solid products
and for rental companies to have in their stock
and wide choice of fixtures for all types of
installations. At the end of the day it’s what
all these different end-users want and need to
sustain their work and business that influences
the product development.
“It’s hard to predict the future precisely right
now, as to some extent things like product
development will also depend on how the
lightsource and component technology develops
– as well as the needs of the designers, rental
companies and installations mentioned above.
“I think it’s important to stay focussed on
maintaining quality standards and respect the
fact that we all learn new things every day. I
don’t want us to ever become complacent, and
we need to maintain the great energy, spirit and
multi-level inspiration that drives the company
forward.”
TPi
Photos: Louise Stickland, Robe
www.robe.cz
 IN THE SPOTLIGHT: K-array KH8
K-ARRAY KH8 LINE ARRAY
K-ARRAY SYSTEMS LAUNCH THE NEXT GENERATION OF TOURING LINE ARRAY SPEAKERS
For centuries Italy has been the country
of design and creativity, it’s a country of
dreamers. That passion still flows in the
heart of Tuscany, Mugello, inspiring some
of world’s most notable innovations. In
the world of professional audio, the new
creation to leave the workshop of K-array is
a product of this rich history set to shake the
experts in the industry.
Since the first line array systems appeared
in the market back in the ‘90s, there have been
great strides in terms of sound quality, the
sound pressure levels (SPL) and the ability to
focus energy towards the listening areas. This
has increased large areas of the audio market,
which the public have become accustomed
to over the years with major festivals sporting
giant PA systems to support reputable artists
all around the world. However, the price paid
for this evolving technology has continued
to grow as the systems have increased in
size and complexity thus adding more costs
to move equipment around and set up. The
need to uniformly cover large areas led to the
94
appearance of increasingly cumbersome systems
that were complex to assemble and difficult to
manage.
Alex Tatini, President of K-array explained:
“When we started designing the KH8 we
wanted to create a system that would represent
the ‘state-of-the -art’ in terms of performance
but at the same time, the most ‘practical’ as
possible in terms of portability, installation
and management. When we considered all
the feedback from others and from our own
experiences, the focus became: how could we
make life easier for everyone using pro audio,
day in, day out especially in the touring sector,
where the demand for quick turn around
times and tight costs affect the freedom to be
creative.”
The result is the KH8, one of the world’s first
flexible digital ‘slim array technology’ (SAT line
array speakers; slim and compact in design, self-
powered and weather resistant, providing an
exceptional peak output of 145dB SPL offering
a rather different solution to the touring audio
market. It is fully controlled by the onboard DSPs
for hyper detailed beam steering and maximum
operational flexibility. Its counter- part, the KS8,
is a compact, self-powered, weather resistant
subwoofer element providing an exceptional
peak output of 148dB SPL. This too has dynamic
set up options for optimum delay calibration.
RIGGING EASE
A system of 24 KH8 units can be flown in just
10 minutes. This is possible because it is not
necessary to dismount the entire cluster, the
speakers are anchored in groups of three within
rigid frames - and each frame is placed on a
standard dolly for practical transportation -
that can be connected quickly to create longer
clusters (up to 24 units). Compared to traditional
systems that require wiring and a mechanical
connection for each speaker, the KH8 saves
time.
The portability and ease of assembly are
just some of the advantages of configuring a
‘straight array’. For example, if users wanted to
change the inclination angle of a speaker when
the cluster has already been hoisted: with the

Opposite: K-array has launched the KH8 line array and KS8 subwoofer. Below: The KH8 was Beta tested at the Shanghai JZ Festival last year and will return again this year.
KH8 it is not necessary to pull the cluster down,
it is sufficient for someone to change the tilt of
the single speaker, an operation that requires
no more than a few minutes. In addition,
the ‘straight array technology’ minimises the
cluster’s volume and allows maximum freedom
on where they are hoisted. For instance, not
as much space in depth is needed behind the
cluster, instead it can be flown almost attached
to a wall or a tower. The result is to obtain a
wavefront that has the desired curvature from
a perfectly vertical cluster. “We like to say the
bananas go digital,” laughed Tatini.
Every unit can be independently tilted to
focus the sound mechanically and then digitally
steered. The KH8 cluster’s coverage can be
controlled mechanically by adjusting the splayed
angles between units and digitally, by exploiting
one of the key advantage of the KH8 system,
the digital steering function. With the KH8 users
can focus sound in targeted areas with more
accuracy, excluding beam sounds in specific
areas (i.e. the stage), check the directivity
frequency and obtain an extremely uniform
sound field.
Acoustic steering is a technique that allows
users to steer a speaker’s sound beam through
the interaction of several loudspeakers. The
full potential of this technique can truly be
maximised only when there is a system that
allows users to precisely and independently
control each element of the array. Powerful
calculation software that can optimise all the
parameters in order to obtain the desired
acoustic result is required. The KH8 system has
this capability.
Each KH8 unit has eight onboard DSP
channels in order to drive all its section
independently. Each of the eight channels is
designed to load FIR and delays to achieve the
best and the most accurate steering results.
DEDICATED SOFTWARE
With an intelligent system such as the KH8
dedicated software to make things easier is
required but equally as important is giving the
user plenty to play with. K-array approached
the most successful software developers in the
AFMG industry and together developed the
FIRmaker software to users have the ability to
create their own acoustic modelling.
Dedicated software allows any user to design
according to any venue requirement. By simply
pressing a button, the software can suggest
the most accurate speaker angle for optimal
coverage in the targeted listening area. Press
another button and the software will compute
the best FIR settings to meet any demanding
set-up requirement and control sound spill over.
KS8 features IPAL driver and amplifier
technology, including a powerful amplifier
module, a differential pressure sensing device, a
‘zero latency’ DSP and two 21-inch specifically
designed high efficiency transducers. The
IPAL technology allows the user to correct the
intrinsic uncertainties of the acoustical system
in real time for state-of-the-art performances.
System linearity is guaranteed by feedback
correction based on a differential pressure
control method. The integrated DSP ensures
IN THE SPOTLIGHT: K-array KH8
an astonishing 10 microseconds latency on the
critical feedback paths allowing ‘analogue type’
feedback approach with the flexibility of a DSP
core.
Tatini said: “We returned to the drawing
board when designing the KH8, focusing on
power, usability, weight, size and the time it
takes to set up, we listened and discussed the
problems with numerous sound engineers
around the world. We went right back to the
beginning of the line array and re-designed it
from the ground up, considering every detail in
a bid to make things simpler but pack enough
power to make it a system everyone can
recognise and enjoy. What we have created is
not just a high performance speaker, it reaches
a whole other level of sound technology.”
BETA SUCCESS
“We have been BETA testing the KH8 in Asia for
a year now and the results have over exceeded
our expectations,” continued Tatini. The KH8
was used at the JZ Festival in Shanghai in 2013
and is currently being installed at the Carina
Club in China. “The system is ready to ship and
the success of its performance is down to the
incredible team we have here in Tuscany, the
European commission and our colleagues in the
pro-audio world,” he concluded.
The KH8 has been used on tour in Italy and
China this summer and will feature at the JZ
Festival in Shanghai on 17 October.
TPi
www.k-array.com
95
 MARKET FOCUS: Rigging & Trussing

RIGGING
A.C. RIGGING www.ac-et.com

A.C. Entertainment Technologies’ dedicated rigging division, A.C. Rigging, is a specialist one-stop shop for
all your rigging equipment needs. It prides itself on offering impartial advice on lifting and rigging products
from renowned manufacturers, to ensure the customer always has the right products for the application. It
holds vast stocks of quality products for same-day or next-day delivery. These include everything from general
purpose and high load truss by leading manufacturers, Litec and Prolyte, to Lodestar chain hoists from
Columbus McKinnon. Other stocked lines include BroadWeigh load monitoring, Out Board control systems,
Petzl height safety equipment, Crosby rigging hardware, Manfrotto support and grip, VMB telescopic and PA
lifts, Litestructures Litedeck, Prolyte StageDex staging systems and Touring Custom Products.

ACTUS INDUSTRIES http://actusindustries.com

Actus Industries supplies a range of specialist rigging equipment and solutions to the entertainment,
broadcast and exhibition industries. It is a small, enthusiastic team with many years of experience. It stocks an
extensive inventory of rigging equipment from leading manufacturers, maintained to the highest standards
and offered for hire at competitive rates. Actus Sales is proud to be an official distributor of Litec Truss and
EXE Rise Chain hoists. Working together with its hire and sales divisions, Actus Project Management provides
consultancy and installation services. With warehouse facilities in London and West Yorkshire it is ideally
located to provide its services throughout the UK.

BLACKOUT www.blackout-ltd.com

For 24 years Blackout has been supplying the music, sports, conference, exhibition and broadcast sectors with
its extensive range of rigging, trussing and draping equipment. The company benefits from one of the largest
inventories in Europe, and can service any event rigging needs from dry hire to bespoke, one-off creations of
any scale or complexity. But, at Blackout it’s about more than simply the equipment that’s available; it’s the
people that make the difference. From project management to warehousing, manufacturing, CAD design
and installation all of Blackout’s staff are skilled, dependable and love what they do. Blackout has offices in
both the UK and Paris, working internationally with some of the biggest names in the business. This year
alone, Blackout’s people have been entrusted by Wireless Festival, Somerset House music and film events,
Kasabian, The MTV EMA and The Brits to name just a few.

KINESYS www.kinesys.co.uk

The Kinesys Libra system is a range of products designed to offer simple and accurate load measurements
for use in any number of rigging and load bearing applications. There are three main elements to the
system: the LibraCELL which is a load measuring shackle, the LibraPRO which works as the hub / power
supply and LibraWATCH which is a multi-platform software program where load cell data can be viewed
and programmed. The Kinesys Libra system works as a standalone load monitoring system but it can also
be integrated in to Kinesys’ DigiHoist fixed speed control system to provide overload and underload safety
monitoring to comply with BS7906-1:2001 for lifting and suspending loads above people and D8+ (SQ
P2:2010) for suspension of loads above people without the need of a secondary suspension.

96
Blackout 'People' half-page LSI:Layout 1 11/2/14 14:56 Page 1

The drapes
and rigging
people.
At Blackout we offer more than just the usual
event equipment hire. It’s not just that we’re
the only company in the UK supplying a
complete drapes and rigging service, we also
provide what others can’t. Our people.

Blackout people, from project management,

through warehousing and manufacturing to
rigging and installation, are skilled,
dependable and enthusiastic - in fact, we
thinkthey’re the best in the business.

Find out for yourself. To talkto Blackout about

your next project or event,
phone +44 (0)20 8687 8400
contact us at sales@blackout-ltd.com
or visit www.blackout-ltd.com

Where the people

make the difference.

Come visit us at ABTT

Wednesday 11th &
Thursday 12th June
Stand No. 18
MARKET FOCUS: Rigging & Trussing

KNIGHT RIGGING SERVICES www.knightrigging.co.uk

Knight Rigging Services is one the UK’s foremost production support companies providing stage rigging and
design services for live events around the world. Working with the entertainment industry’s leading artists
and production companies to stage events at the very highest level, Knight works closely with artists and
their associates in designing and coordinating all aspects of event rigging systems to ensure that they meet
the client’s creative vision and specific needs. It works pro-actively to ensure that all work complies with H&S
legislation.

LOAD CELL RENTAL http://loadcellrental.com

Now in it’s second year of trading in the UK and US, Load Cell Rental offers an insurance backed independent
weighing service with detailed reports for all aspects of flown production equipment from custom built
set pieces to full lighting, video and audio. With a stock of both wired and wireless cells totalling 240, this
specialist company has recently completed reports for Miley Cyrus, Robbie Williams and Aiken Promotions.
Rehearsal and touring systems are also available for hire, with Queen, Cher and Katy Perry taking advantage
of the service. A strong understanding of one off and touring needs; equipment is packaged with the user in
mind and all cells are regularly verified for accuracy.

OUTBACK RIGGING www.outbackrigging.com

It is a year of celebrations for Outback Rigging, not only has it recently celebrated its 20th birthday, it has
substantial investment into an innovative and unique light weight truss. The OV Truss, by Total Solutions
Group, has been both designed and manufactured in Britain with a keen eye on the needs of the live
production and exhibitions markets. Offering a host of benefits, including; cheaper rental prices, maximum
flexibility and most importantly safety - with it being the only light weight truss to comply with Eurocode
9 standards. The robust design is extremely well engineered, offering customers a great looking product.
DesignJunction, the contemporary design show, has taken full advantage of the solution at London’s Sorting
Office, praising the truss’ exhibition quality condition.

RIGGING SERVICES www.riggingservices.co.uk

When Rigging Services was founded in the mid-90s, it’s hard to believe that the provision of truss was not
an initial part of the business model. Originally the plan was to include hoists and rigging accessories only.
It wasn’t too long before clients were demanding truss also. Today, the company believes it is one of the
biggest stockists of truss in the UK with all sizes up to and including Prolyte’s B100 truss. Truss by design,
although lightweight, consumes a lot of space - hence Rigging Services is pleased to announce its 5th
warehouse in the UK at London’s Excel venue to accommodate yet more truss.

RIGOROUS TECHNOLOGY http://rigorous-technology.co.uk

Rigorous Technology specialises in all things Kinesys and LibraCELL being one of the largest stockists of
the Libra Digital Load Cell System in the world. Its Documented Production Weighing service should be of
interest to anyone planning or managing any rigging operation, big or small. RT will provide a bespoke load
cell system at a location of your choosing, along with NRC qualified riggers to load in, operate and load out
the system. Recorded loads will be clearly documented and passed on to production as a guide to future
rigging operations. Whilst on site RT’s crew will also monitor your rig for any signs of potentially dangerous
overload situations. LibraCELL systems are also available for dry hire and touring applications.

98
MARKET FOCUS: Rigging & Trussing

STAR EVENTS www.stareventsgroup.com

Star Events is one of the world’s leading manufacturers / suppliers of bespoke rigging systems for venues and
arenas, its modular ‘Mother Grid’ steel truss components tailored to safely transfer loads back to structural
areas of the roof. Installed Mother Grids can be lowered to attach concert equipment and lifted back to the
roof. Fully compliant with the legal duty in many territories, to design out the need for ‘Work At Height’, it is
a quicker, safer, more cost-effective way of facilitating stage-based entertainment in multi-purpose venues.
Star also offers a consultancy / design service to ensure that new venues have optimum support points for
either Mother Grids or conventional event rigging.

UK RIGGING www.ukrigging.net
UK Rigging has an exceptional reputation for its high standard of work and attention to detail. Recent
and current events include; BBC Proms in the Park - Hyde Park, Sports Personality of the Year, Leeds and
Reading Festivals, Tour de France Team Presentation Ceremony and Lee Evans Monsters Tour. UK Rigging
holds an extensive inventory of truss and rigging equipment, including hoists, variable speed hoists, black
and silver truss, truss circles and various rigging and control systems. In addition to equipment hire, UK
Rigging provides complete rigging solutions consisting of site survey, design, technical expertise and
rigging personnel. Continually adding to its equipment stock, UK Rigging’s recent investments include Total
Fabrications SMD and GS Truss, additional Kinesys Elevation1+’s and compatible Liftket hoists.

UNUSUAL RIGGING www.unusual.co.uk

Unusual Rigging’s 4.75 acre facility carries probably the largest hire stock of truss, single and variable speed
hoists, winches, control and other rigging equipment in the UK, all of which has been selected for reliability
and fitness for purpose. Clients include concert and theatre producers, exhibition organisers, corporate
event, TV and film production companies, museums and galleries. Choose either dry hire or opt for the
services of some of the best riggers in the country: nearly all have Level 3 Rigging Certificates and all are fully
trained in equipment handling. Their knowledge, experience and advice is invaluable in helping you to deliver
a successful project. Other skill sets include mechanical, structural and design engineering.

TRUSSING
ALL ACCESS http://allaccessinc.com
All Access operates a full-service company, supplying a variety of rental and sale equipment to the
entertainment industry. Its primary product offerings consist of its patented Versa system, including indoor
and outdoor Versa staging, turntables, towers, truss structures, and aluminium and steel barricades plus
much more, as well as its production services. Its popular Versa truss is a well-respected heavy duty roof
truss which has become familiar within various parts of the live event industry. All Access also has a variety
of curved trussing available from its manufacturing facilities in both 12” box and 20.5” which allow the
customer to augment a bespoke design.

DOUGHTY ENGINEERING www.doughty-engineering.co.uk

Doughty Engineering has developed an award winning range of Drop Arms and H-Frames, giving riggers an
alternative to ‘home made’ kit. Attractive, safe and strong, it’s the easiest way to suspend lights in an artistic
manner. The modular system is ideal for touring productions and events, providing a flexible rigging method
for suspending luminaires from a truss of fixed aluminium tubes and barrels and opening up the possibility
for highly innovative lighting design. The Drop Arm range of components can be connected together to
make varying lengths with a coupler fitted at one end and a ‘T’ or stirrup at the other. The H Frames can be
used for larger moving lights or a row of smaller luminaires.

100
 ®

new

Raising
CeL
2014 - Ex
TOBER
5-8 OC

the Standard
of Performance
DOUBLE
BRAKE
as standard
BGV D8+
READY

For loads up to :

1000 KG And also :

operating
convenience For loads up to 250 kg
> Operating sound level down to 60 db.
> Chaining tool delivered with every hoist.
> High capacity and high strength chain bag.
> Climbing motor or industrial suspension
configuration can be changed simply by
reversing the hoist.
For loads up to 500 kg
innovation
> New “Perfect Push®”, patented concept,
load wheel with 5 pockets is fitted as well improved
with 5 intermediate teeth.
> Rubber Shock absorber. ergonomics
> Electrical components designed for “plug > New pure and totaly fluid design.
and play” connectivity. > The hoist body is powder coated with black,
> Chainflux® MKII. Design provides a horizontal protective 70µm epoxy paint.
flow of the chain as it comes off of the > New ergonomic concept for the retractable,
load wheel. rubber clad handgrips.
> LIMITFlux®, magnetic limit switch > Lifting hook has an ergonomic, rubber clad,
as standard on version B. gripping surface.

safety
> Double lifting brake as standard.
savings
> New Clutch concept. > Maintenance operations are now simpler,
> Electrical limit switch as standard faster and more economical: Plug & play
on version B. electric components, easy access to brake
> IP55 protection for the entire hoist. and torque limiter settings.

Version A: 3 phase hoists with direct voltage control.

Version B: 3 phase hoists with low voltage control.

www.stagemaker.com
MARKET FOCUS: Rigging & Trussing

DURATRUSS www.duratruss.com
The DT 34 / 3 Flex Tower from Duratruss is a unique transportable truss tower in which all parts are attached
to the system for ease of transport and setup. This ‘no loose parts’ system has a loading capacity of 500kg
and a maximum height of 6.5-metres. Ideal for events of all types when a quick and easy truss tower
solution is required, the lightweight (75kg) and easy-to-handle construction is compact for easy storage and
transport. Flex Tower is made of sturdy aluminium alloy and includes a durable manual Columbus McKinnon
winch which meets the strict BGV-C1 German regulation.

EUROTRUSS www.eurotruss.nl

Eurotruss does it all and everywhere. From supplying an every day truss, to a major outdoor roof structure.
The Eurotruss philosophy is simple; supply a high quality product including global support for a fair price. Its
truss is designed according to the new Eurocode 9 and proudly manufactured in the Netherlands. Eurotruss
also offers next to its full trussing range also rigging and staging products to suit the touring, installation,
corporate and theatre market. Many refer to the QNCC in Qatar as the biggest truss and rigging job ever.
It required innovative, cooperative and operational skills to pull this off in 10 months. Seven halls were
installed with 22,500m of Truss, 432 units of foldable cable tray lifts and 1,742 units of Vario Speed hoists
fully wireless controlled.

GLOBAL TRUSS www.globaltruss.de

With decades of experience, Global Truss enables the realisation of successful concerts, festivals and events
worldwide. The aluminum truss with unique quality is regularly certified from independent testing institutes.
Therefore the user can be sure that Global Truss products are made of premium aluminum (EN AW- 6061 and
EN AW-6082 according to DIN EN 573-3). The product range was extended systematically over the years and
includes beside trusses also barriers, couplers, hooks as well as sophisticated stage structures and heavy duty
trusses. Also, when it comes to innovations, the development department in Germany sets new accents, for
example, with the brand new barracuda clamp.

LITEC www.litectruss.com
Dynamic Stack Tracks are multi-purpose built-in rail systems with modules that move LED screens, scenery
and lights. They consist of 52 stacking trusses provided with a double track and a foldable dolly. They
feature motorised, slave and rotation trolleys, which can run on both straight and curved tracks. D.S.T. are
easily stored owing to their modularity and stackability and very simple to assemble. They may be brought
on stage with their dolly, which folds upward without the need of being stored when the truss works. The
modules may be managed with the most common control systems on the market. The possible movements
are horizontal (right-left and left-right), vertical (up-down and down-up) and 360° rotation (clockwise and
counter-clockwise). D.S.T. are painted in dark grey to absorb light, but other colours are available on request.

MILOS http://milosgroup.com
The seeds of Milos Group were planted in 1994 when Milos Structural Systems was founded in the Czech
Republic. It became Milos Group in 2012 when the engineering design expertise, experience, knowledge,
and manufacturing capabilities of its three brands - Milos Structural Systems, Litec and TOMCAT - were
combined and solidified. Milos Group offers an unsurpassed range of truss and rigging solutions for a wide
array of events and products. Its unparalleled compatibility allows use with your existing stock. With its
newly launched hardware replacement program, you now have the opportunity to trade in your worn out
warehouse stock for new Milos hardware. Milos also offers a construction assistance program that offers
assistance in building your structures safely and on time, no matter where you are located.

102
MARKET FOCUS: Rigging & Trussing

PROLYTE GROUP www.prolyte.com

Clever features and impressive specifications make Prolyte’s H40R the ideal truss for rental purposes. It
boasts a loading capacity comparable to Prolyte’s H40V truss yet its more compact design makes it even
easier and more cost effective to store and transport. Three-sided webbing allows some lateral force - the
diagonals are positioned so that a 30D truss can rest on the bottom chords. Thicker bottom braces allow
easy mounting of lamps and central loading, reducing the torsion effect. Furthermore, the spigot orientation
means this truss can be assembled effortlessly while on the floor. The H40R range comprises standards
lengths, box corners and MPT tower adapters.

TOMCAT www.tomcatglobal.com

Tomcat specialises in the fabrication of aluminium truss and structural components for the entertainment,
audiovisual, exhibition and worship industries, as well as providing related products such as theatrical chain
hoists, custom electric assemblies, lighting products and rigging hardware. Tomcat is a proud member of
the Milos Group, the largest global aluminium trussing and staging manufacturer today leading the way
in truss system design. Tomcat, along with Litec joined the Milos Truss-Group in August 2012 and boosts
Milos´ commitment of innovation. Merged into a matchless bond, Milos, Tomcat and Litec build staging and
truss products that are beyond compare worldwide and share the mind-set of making everything you need
exceed your expectations.

TOTAL SOLUTIONS GROUP www.trussing.com

The OV range by Total Solutions Group represents an innovative engineering solution to a common size of
truss; is designed to the latest Eurocodes, combining high comparative load capacities, low self weight and
comes at a competitive price. Developing OV has allowed TSG to re-examine all the many applications to
which truss is used in the modern entertainment world. All of this whilst analysing the most common slinging
/ support methods on the truss has determined an ‘engineered’ product that can utilise the most modern
manufacturing techniques. OV might resemble what you see from commonplace rivals on the market; but
look closer and you discover the subtleties that defines the product designed by a company with a history
of innovation.

TRUSS UK www.trussuk.com

Truss UK Ltd is a company that designs products with the user in mind. All of its designers and fabricators
have field experience in the entertainment industry and all Truss UK trussing products are designed in
accordance with the very latest European code for aluminium structures, namely BS EN 1999-1-1 for the
design of aluminium structures. Its fabricators are all coded to the EN ISO 9606-2 welding code for the
fusion welding of aluminium alloys. Truss UK offers a full range of trussing and rigging products to suit the
theatre, corporate, retail and touring market sectors and welcomes every opportunity to assist its clients in
the correct choice of standard products as well as offering full design, engineering and structural packages
for bespoke projects.

TRUSST http://trusst.com
Trusst, backed by Chauvet, offers trussing, clamps, and presentation solutions, rigorously inspected to
ensure the highest quality and standards of safety. Manufactured from 6082-T6 aluminum alloy, it features
SLV-certified welding and is certified to meet stringent TUV safety standards. The system offers straight
and curved sections, corners, base plates, clamps and utilises a conical connection system compatible with
other truss brands using the same standard conical connectors. Fast assembly goalpost and arch kits, totem
kits, fabric scrims and accessories are available. Trusst is a regular at festivals and events: alternative metal
band, Therapy?, headlined the Bohemia stage at this year’s Sonisphere Festival, with a Chauvet Professional
light show rigged on to Trusst structures, which were pivotal in reducing the band’s carbon footprint across
Europe for a series of festivals. Paul Van Dyk’s opening set for Godskitchen featured Trusst constructed in
creative combinations. SJ Grevett, MD of DMX Productions, commented: “Trusst is very solid. I find it easy to
assemble and it offers great flexibility in the many ways you can combine it.”

104
 THE BIGGER PICTURE
THE BIGGER PICTURE
“ROOM WITH A VIEW, SIR?”
Did you hear the one about the trucking company boss that got sent to jail for 12 months because one
of his drivers slept in the cab of his vehicle? No, you probably haven’t, but you might soon.
Photo courtesy of Kenworth. Diagram shows the T680 Sleeper Cabin, left view.
Of course, that scenario is a bit far removed
from the day-to-day activities of most of our
members, but one way or another it has an
indirect effect on everyone. It’s all down to
Belgium and France interpreting EU directives
governing driver hours in a way that bans
companies from ‘forcing’ drivers to take
their regulation 45-hour weekly rest in the
cab of the truck which, incidentally, can be
a lot more pleasant than some of the London
hotel rooms that many have frequented.
The Belgians feel so strongly about the issue
that they are threatening €30,000 fines
and a year inside for the operator, a tad
disproportionate to the offence, if you ask
us. Now, with that in mind, transport costs
can only head north, if drivers have to be
provided with a hotel room, or flown home
for the weekend. That only means a squeeze
somewhere else… Maybe that comes out of
your end of the budget. See what we mean
by indirect effects?
106
Naturally, this was an issue raised by a number
of members that provide transport services, the
individuals potentially at the receiving end of a
prison sentence, and we had to work out a way
of communicating our specific concerns to those
making decisions. MEPs have been briefed,
requests for action have been sent to the
appropriate Eurocrats, and wheels are in motion,
so to speak. It’s what we do; just one illustration
of how a well-supported trade association can
help, having a person in an office with the time
to find the contacts and get our point across. But
this is very much more than a one man show,
and that’s where you could come in.
It is crucial that the representation work of
the PSA is shared amongst its members. Sure,
a full time General Manager can and will spend
days sitting around tables, helping to develop
policy, guidance, standards and the like, but
there are special people out there who have
the specialist knowledge required to have a
greater input, people who are willing to give up
a bit of time in the name of a better business
environment for all. If those transport companies
need to dispatch a delegate to explain the dire,
yet unintended consequences of the law change,
who better than one of their number, acting in
the name of the PSA?
Our representation work draws our attention
to 10 groups that meet regularly, along with
numerous splinter groups that meet to discuss
specific issues and projects. Some groups are
concerned with specialist subjects; the Institute
of Structural Engineers have their guide to
temporary demountable structures that needs
reviewing and updating, the British Standards
Institute similarly has publications that need
input from us and our members, the Health and
Safety Executive meets with the Entertainment
industry at least twice per year, to report on
policy changes or enforcement activity as well
as to hear from representative bodies on their
concerns and issues; others are wider industry
groups, such as UK Live Music or the Business
Visits and Events Partnership (BVEP), concerned
with a multitude of issues affecting the markets
our members serve. Each one of these groups
needs representation for our members, perhaps
from a member of Council or from someone
drawn from the wider membership, backed by
the General Manager, because people do have
businesses to run too. At the beginning of this
year, we informed attendees at our AGM of our
intention to share notes and information from
these various groups, where permission is given.
This has led to a better division of representation
work between members, with the ability to share
information and call upon the resources of PSA
Towers to seek out information and contacts
where required.
Then there are specialist groups within our
own membership; this is not the first time that
transport has had its issues; when new driver
hour regulations were introduced a few years
ago, all of the major transport companies
(one exception) got together to agree their
approach; on the latest issue, who better to
explain our particular challenges than the actual

Opposite: Hotel HGV, where a two night stay can cost €30,000.
practitioners? We knock on the door, they send
the message. It’s not very easy to hear a dozen
slightly different messages, uniting under one
name and speaking with one voice is a much
better way of getting the point across.
The collective voice is a great tool, but we’ve
also got the recent addition of some good,
solid research into the value of our industry
to the UK economy. We’ve spoken about it
before, but having robust, peer reviewed data
on our contribution to the economy, as well
as that of the live music industry has helped
in our argument against the enforcement of
the Construction Design and Management
Regulations on entertainment. To put it simply,
we can now say that we represent over 1,100
people who work in an industry this big, that
has that many employees and generates that
much income for UK PLC (Scotland included at
time of writing). If the consequence of a change
in the law threatens to reduce our economic
contribution, stifle our growth or lose employees,
people listen.
STAND AND DELIVER
And there’s the PSA’s council of management, a
distillation of our membership, 14 people elected
to represent the membership and direct the
activities of the PSA. Each year we invite members
to stand for Council, each year a certain amount
of Council members are required to stand down
and seek re-election if they wish. This is the time
of year when that happens, this is the time of
year where we ask our members to get on board
and get involved. Not every Council member
can make every meeting, some might spend
“We’re really keen for our members to be an active part of what we
do, it’s about making the business environment easier.”
more time representing and simply report back
through the PSA HQ; what is crucial is that there
is active communication with, and direction from
Council. The greatest challenge is getting enough
self employed people represented on Council;
they represent the majority of our membership.
We’re really keen for our members to be an
active part of what we do, it’s about making the
business environment easier, and it’s about taking
an active interest in the markets our members
www.psa.org.uk
serve because if they’re healthy, business is
good. If people are going to gigs, live music
needs production services; if big exhibitions,
conferences and product launches are coming to
these shores, they need production services.
Could you spare the time to give your input
to our collective voice? The PSA Council meets
six times a year for a half day of focus on live
issues and activities, the wider the cross section
of members on Council, the wider the scope of
our work. That said, there is absolutely no barrier
to any member bringing issues to the table for
us to help with, if it’s in the wider interest of the
membership. Drop us a line (gm@psa.org.uk) if
you can get more involved.
TPi
www.psa.org.uk
107
 MOVERS & SHAKERS
MOVERS & SHAKERS
d3 Technologies has announced the
appointment of Sarah Cox as its new Sales
Manager for EMEA. Cox joins the team at
d3’s head office in Borough, London. Having
seen exceptional growth in the past year, d3
Technologies is strengthening its team in the
EMEA region through Cox’s appointment.
“Eleven years ago I graduated with a BA
Hon is in Technical Theatre Arts,” said Cox. “My
passion was the complete ensemble of the overall
production design. d3 gives me the opportunity
to explore this passion and be part of the future
in shaping how these disciplines can collaborate
together.”
Chris Bird, Sales & Marketing Director of d3
Technologies, added: “Sarah is the perfect fit for
our team. She has great industry experience and
shares our passion for innovation and quality.
With her on-board, we’ll continue to make great
strides forwards and ensure we are there for our
customers when and where they need us.”
DPA Inc., the US branch of DPA Microphones,
is pleased to announce the appointment of
Christopher Spahr, Pedro Rocha and Leonardo
Romero as Area Sales Managers for the Eastern
US, Western US and Southern US / Latin America,
respectively. The company has also promoted
Shan Siebert to General Manager of the
Longmont, Colorado-based office. After a year
of unprecedented growth for the US operations,
these latest assignments signify the company’s
continued commitment to its customers in the
region.
“This announcement comes at a very exciting
time for DPA Microphones’ US operations,”
said Eric Mayer, President of DPA Inc. “Not
only does this serve as an example of how our
brand recognition has expanded, but it also
means that we’ll be able to further grow our
fan base throughout the Americas. In addition,
these appointments will allow me to perform
my day-to-day strategy, sales and marketing
responsibilities more effectively, giving us the
opportunity for even greater success.”
The drpgroup has appointed Sara Lyddy and
108
Mark Roddy as Account Managers, who will
bring a wealth of industry experience to the
agency, and will look after drpgroup’s financial
sector clients.
“I have a real passion for events and the
drpgroup is such an exciting agency, covering a
really broad range of disciplines,” said Lyddy. “I
am relishing the opportunity to be part of their
growing account team.”
Working alongside Lyddy will be Mark Roddy
who has worked for GovNet Communications as
Head of Event Management.
On joining drpgroup, Roddy said: “To have the
opportunity to work for a multi-award winning
communication’s agency of this scale is fantastic.
Their passion, innovation and client commitment
is what attracted me to the organisation, along
with their approach to immersing themselves in
their clients’ brand and strategy to deliver fully
integrated live events.”
Leisuretec Distribution is delighted to
announce its new trade partnership with
Laserworld, manufacturers of show laser
systems, effective September 2014.
Leighton Buzzard-based Leisuretec is a
distributor of professional and commercial audio,
lighting, video and special effects to the trade.
Cliff Dounting, Managing Director, commented
on the new partnership: “It’s extremely exciting
to see your growth plans continue to develop,
and adding a whole new product category to
our portfolio is fantastic. We are very proud to
be partnering with Laserworld and to have the
opportunity to provide our customers with a
greater choice of products.”
Sales Director for Laserworld UK, Denis
Phoenix, added: “This is a natural progression for
Laserworld and we are delighted to be partnering
with one of the industry’s leading ‘trade only’
distributors Leisuretec Distribution. One of their
keys strengths will be to hold significant stock,
available for next day delivery at very competitive
trade prices, making Leisuretec a one-stop
distributor for lasers, software and accessories.”
Birmingham’s Sean Hames is back with the
Sponsored by
www.interfacio.com • +44 208 986 5002
team at LMC Audio. Working out of the LMC
Birmingham office once again, his new project
will see him undertake a Northern Area Business
Development (NABD) role for the professional
audio sales company.
Following a break from the pro audio scene,
Hames is ready for this new challenge, he
commented: “I have kept in touch with some
old industry friends, following the news in the
world of PA. Now, I’m really looking forward
to carrying out my new role, being in the thick
of it once more, meeting new customers and
becoming part of making their jobs happen.”
Hames’ role will initially emphasise product-
training and growing customers’ individual
businesses in the North East of England. He
commented: “Living on the North East Coast, I’m
on-hand to provide direct support to help make
the equipment an easy hands-on experience for
our customers - in all aspects of trying out, using,
and buying kit.”
German fibre network specialists Optocore,
has appointed Audio Solutions to distribute its
products in Russia. According to Manager of the
Professional Audio Department, Igor Kovalev,
the 12-year-old Moscow-based company will
be providing Optocore solutions to its two core
markets: sound reinforcement (theatres, concert
halls, live events) and broadcast.
In addition to their formal distribution
arrangement with Optocore, Audio Solutions
said it is also working on a major project, using
sister company BroaMan solutions for delivering
scalable customised solutions for clients requiring
SD/HD/3G video routing.
Kovalev stated that adding Optocore to the
company’s brand portfolio was an obvious step:
“It represents a good price / performance ratio
when compared with other brands, along with
amazing flexibility / scalability and extremely
high sound quality. It will allow us to implement
modern digital optical network technology, with
all its advantages, and to replace noisy long
analogue runs in existing cultural buildings.”
Hire company Point Source Productions, and
www.interfacio.com • +44 208 986 5002 MOVERS & SHAKERS

Opposite: DPA Microphones new hires: Spahr, Romero, Siebert; Sara Lyddyand Mark Roddy. Below: Sean Hames; Marc Hendriks; Audio Solutions team; Rob Mills of Light Motif and
Stephen Capel of Point Source Productions shake hands on new partnership.

event production company, Light Motif, have
entered into an exciting new partnership to
service the events industry.
Founded by Rob Mills, Light Motif is a young
company made up of creative individuals with
extensive experience in the events industry.
Light Motif specialises in the creation of vibrant,
bespoke designs that determine the look and feel
of an event. Strong emphasis is placed on the
advance presentation of visuals to the client and
high levels of pre-planning to ensure every event
delivers the ‘wow’ factor and meets the clients’
expectations.
Part of the company’s exciting growth
includes the new partnership with Point
Source Productions. “Point Source Productions
consistently supplies the best maintained and
serviced equipment in the business,” said Mills.
“We have used Point Source Productions for
many years as they can be relied upon to provide
kit that works straight out of the box and looks
good onsite. So when we were looking for a
partner to complement Light Motif’s services,
Point Source was the obvious choice.”
Renkus-Heinz has announced the
appointment of industry veteran Jim Bailey to
a newly created product marketing position. In
his new position, Bailey will fill a number of vital
roles within the company, including the creation
of technical documentation, educational videos,
and software development. He will interface
directly with both marketing and engineering.
“Jim’s broad background across a wide range
of technical and marketing disciplines is exactly
what is needed at Renkus-Heinz,” observed VP of
Sales and Marketing Rik Kirby. “His ability to fulfil
multiple roles is invaluable, and we are confident
he will quickly become an indispensible member
of the Renkus-Heinz team.”
“Renkus-Heinz is one of the companies
that started it all - they’re part of the history
of professional audio,” added Bailey. “More

109
MOVERS & SHAKERS www.interfacio.com • +44 208 986 5002
Below: John Kaukis; Stuart Leader; Jim Bailey; John McGregor; Laurence Jones, Dapo Adeniran and Chris Martelly.
importantly, they are innovators
whose products have had a major
impact on loudspeaker design.
I’m proud to be a part of such a
great group of people, and looking
forward to contributing to the
next generation of Renkus-Heinz
technology.”
Sennheiser, one of the
world’s leading manufacturers of
microphones, headphones and
wireless transmission systems,
has announced the appointment
of John McGregor as its Business
Development Manager (BDM) for
the Middle East. The regional office
in Dubai reported exceptionally
strong growth figures for both
turnover and profit in 2013 and
believes this move will further
strengthen its foothold in the
region’s education and broadcast
markets. In his new role, McGregor,
a former tutor at the highly
reputed SAE Institute in Dubai,
will also drive knowledge transfer
initiatives directed at the audio
specialist’s Middle East partners
and customers.
McGregor will serve in
Sennheiser Middle East’s Systems
Solutions Division and will report to
the company’s Director of Sales and
Marketing, Mig Cardamone, who
said: “On-going digitisation and
the convergence of IT and audio
technologies are prominent trends
in the region’s broadcast industry,
while educational institutions
are increasingly leveraging the
latest audio solutions to enhance
and revolutionise the classroom
experience. John has a wealth of
knowledge and experience specific
to both these verticals, which
will help him guide customers in
making sound investments. As he
grows within his role, he will also
extend his focus to segments such
as installed sound.” Two senior
crew chiefs from Showforce - the
event industry’s leading provider
of talented crew and technicians -
have been promoted.
Dapo Adeniran will take on
110
the role of Business Development
Manager whilst Laurence Jones has
been appointed Crew Manager.
Together the pair has over 14 years’
experience working in the live
events industry and will be utilising
their expertise gained working
on such events as the London
Olympic Games, Laureus World
Sport Awards, FIFA Club World Cup
in Abu Dhabi and The Sainting of
Pope Francis in Brazil to continue
growing the Showforce brand
globally.
In their new roles, both
Adeniran and Jones will be based
at Showforce’s London office
in Stratford and will report to
Operations Director, Chris Martelly,
who said: “I’m really pleased that
Dapo and Laurence have taken on
more senior roles at Showforce;
both joined as crew members
so have first-hand and in-depth
knowledge of exactly how the
business operates.”
Milos Group welcomes Marc
Hendriks to its experienced team
of professionals. Hendriks is a well-
respected expert who has enjoyed
a long and successful history within
the truss and support structure
industry. His wealth of knowledge
and hands-on experience is well
known by his peers and appreciated
by countless customers across the
globe. The introduction of Hendriks
to the Milos Group team will
strengthen all brands of the group
and offer value added to their
worldwide customer base.
In keeping with Milos Group’s
dedication to constantly refining
and improving its product offer,
Hendriks will drive the tasks
of ensuring efficient product
development and effectively
managing the product portfolio
across all three brands. This
includes ensuring that product lines
from each brand effectively meet
the needs of their customer base
across all global markets.
TPi
www.tpimagazine.com/jobs/
 The TPi Production Guide

THE PRODUCTION GUIDEThe TPi Production Guide is kindly sponsored by

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112
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DiGiCo 15 L-Acoustics 115 Sensorcom 112
5 Star Cases 19 Doughty Engineering 107 Le Maitre 47 & 112 Showsec 77
Acorn Event Structures 64 DPA Microphones 76 Leisuretec 4 SNP Productions 79 & 112
Adam Hall 37 Duratruss 53 LMP 71 Sommer Cable 35
All Access Staging 55 Elation Professional 7 Loadcell Rental 40 Stage Line 85
Allen & Heath 51 Entec Sound and Light 112 London Speaker Hire 67 Steinigke 73
Audile 63 ER Productions 65 & 112 LS-Live 61 STS 6
Audio Technica 49 Eurotruss 39 Martin Audio 31 Tannoy 59
Avolites 29 FFP 50 Martin By Harman 45 Tempower 112
B+K Braun 81 Framelock Barriers 32 Meyer Sound 2 TPi Awards 3
Blackout 97 Full Fat Audio 22 MM Band Services 66 Total Solutions 97
Bob Kelly & Co 112 GearSource Europe 20 Millenium Studios / ELP 109 Tour Travel 112
Cadac 23 Gerriets 112 Mojo Barriers 89 Travel 4 Tours 112
Central Presentations 16 & 112 GLP 62 MTFX 13 Universal Effects 89 & 112
ChainMaster 5 Green Hippo 38 Nexo 24 uTRAC 109
Chaos Visual Productions 75 Hand Held Audio 18 Pearce Hire 74 Verlinde 101
Chauvet Professional BC Hazebase 110 PLASA Events 111 Video Illusions 82
Clay Paky 11 HHB Communications 41 Prolyte 73 Wicreations 65
Coda Audio 46 Hoist UK 14 Renkus Heinz 83 Wicked Technical Services 112
Columbus McKinnon 70 InspHire 43 Rigging Services 99 & 112 XL Video 57 & 112
Creative Technology 78 & 112 JB Lighting 83 Rigorous Technology 58 XTA 68
d&b audiotechnik 33 K-array 93 Robe 17 YSLV 99
d3 Technologies 75 & 112 Kinesys 60 Rubber Box 70

113
 VITAL STATS

VITAL STATS 163

Jo Beirne

Profession: Project Manager, XL Video 

Date & place of birth: Edinburgh, and never ask a lady her age!

What kind of training do you feel most prepared

you for a career in entertainment technology?
Was it informally, ‘on the job’ or in an educational
setting? 
I was the first female manager of Richer
Sounds, and then I did a music management
“I was particularly motivated to
and promotion course at Jewel and Esk Valley
College. Part of the course involved a three succeed when I was told, ‘27 is too old
week work placement with Virgin Records,
and the company offered me a job the day
I left college.
for a woman to start working in the
I spent three years there before working
for Bamn Management that looked after ‘90s
music industry’...”
pop bands, All Saints and 5ive. Steve Levitt
(of Production North) was our Production
Manager and knew I wanted to get involved
in production. He offered me three-day work
experience with Westlife on their debut tour. from their first tour with video and develop a long-term creative relationship.
Three days turned into three months on the road! XL Video was the video
vendor on the tour and Lee Spencer offered me a job after the tour ended, What are you essential tour survival skills?
and here we are now, 13 years later! My 10-year-old son, Dillon keeps me too busy at home!

Is there a time you consider to have been your ‘big break’ into the industry?
The day Lee Spencer offered me a job.  I was particularly motivated to
succeed when I was told, ‘27 is too old for a woman to start working in the
music industry’, by a record company executive, who shall remain nameless.
I regularly supply video to one of his big signings now.
You’ve been with XL Video pretty much since the start of the UK operation, what
has kept you there?
I really bought into what XL stood for and wanted to achieve in the concert
touring space, 13 years on I’m very proud of my journey.
During your time in the professional video sector, do you feel you’ve had an
informal mentor of sorts?  What’s the best piece of advice you’ve received from a colleague?
I’ve had several, particularly Steve Levitt, Lee Spencer, Chris Mounsor and
Des Fallon.
XL Video has won 10 TPi Awards, what do you think resonates with your peers in
the industry to keep winning the title? 
I think we’ve always occupied a unique role with video in concert touring,
Chris Mounsor was the founding father of this market in Europe and we
have followed his ethos of ‘combining the latest technology with creative
staff and technicians, and backing that up by building strong relationships
and ensuring we deliver out on the road’.
We also recognise that this industry requires a lot of different people and
companies to work together. Some of the companies we compete with can
also be clients or bring us work, so we aim to have good relationships across
the industry.
A wise man once told me, ‘don’t eat yellow snow’! I think you all know
who that is...

You’ve project managed tours for the likes of James Blunt, Mumford & Sons and What live and touring action can we expect from XL Video for the rest of the year?
The Killers to name a few. What drives you to keep things fresh with each new Over and above our ongoing work with existing long term clients, we are
artist / event?  very proud to be involved with yet more firsts; both from new artists adding
It is often said that the first sale is the hardest, this is particularly true with video to their shows, and others who are making the step up to arenas after
artists taking video for the first time. At XL Video we are very well set-up for touring smaller venues so far in their careers. We’re working with a diverse
this in terms of our equipment, crew and creative technical know how - we range of artists from established rock acts like Kings of Leon and global
always try to make it a enjoyable experience and aim to work with artists stars such as Il Divo, through to the hottest new EDM artists.

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 L-ACOUSTICS WST® technology is now packaged in two enclosures perfectly arrayable into a constant curvature line source
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Advertising ARCSWIDE-ARCSFOCUS_210x297_TPI.indd 1 18/03/2014 17:18:53