TOTAL PRODUCTION INTERNATIONAL

TOTAL PRODUCTION INTERNATIONAL

WWW.TPiMAGAZINE.COM
JANUARY 2016 ISSUE 197
LIVE EVENT DESIGN & TECHNOLOGY • JANUARY 2016 • ISSUE 197

BRING ME THE HORIZON

THAT’S THE SPIRIT... OF LIFE ON THE ROAD
CAN YOU FIX THE BROKEN?

THE PRODIGY • ANE BRUN • DISCLOSURE • IN PROFILE: JOHN HENRY’S

IN THE SPOTLIGHT: FOCUSRITE • THE UK FESTIVAL AWARDS
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Read the full interview at meyersound.com/wigwam

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CAKE OR DEATH? (OR TWINS?)

“Eddie! Eddie! EDDIE! Oh my God man, I don’t know how I ever made it to my
uni classes because I used to watch your standup on, like, repeat mate. I also
had the munchies for three years, so the answer was always cake. But, basically,
I love you even more than cake.”
At least that’s how I think the transcription might have gone as I rather tipsily
stalked Eddie Izzard at one of our events, the UK Festival Awards. I’m usually so well
behaved if I happen to meet a famous person (I had an accidental beer with Keanu
Reeves once - I’d tell you more but I’m still traumatised from having been clad in an
Itchy and Scratchy Simpsons t-shirt) yet I had to take the opportunity to insist on a
hug with Eddie. He was presenting Peter Gabriel with The Outstanding Contribution
Award for his efforts with WOMAD, and I was generally losing my teenage self’s
mind. I think he replied to my outburst with something along the lines of: “That’s
very kind of you, I hope you passed.” I swear there was a sarcastic wink as he • Climbing- or Standard Hoist
edged away but I was too distracted by his perfect eyeshadow and ahem, glorious • Overload Protection
heels (bigger than mine) to take it all in. Festival Awards coverage starts on Pg.8.
with Patented Friction Clutch
This issue also allowed us to check out some spectacular tours. Watching Andy
• Direct Control or
Hurst’s work with The Prodigy felt like I was
witnessing a spaceship having an electrical
Contactor Control
malfunction. I loved it. It was the first time I’d • Light And Compact Design
seen the band perform outside of a festival “The crew pulled off one of • Precise Chain Guide
environment, and the results were quite the most impressive gigs I • Textil Chain Bag
something. Fun fact: I also had vertigo that night, saw in 2015, complete with • Several Models on Stock
and consequently entered some kind of strobe-
induced mind trip. Did I mention that I loved it?
what has to be the best
Ste Durham tells all on Pg. 40. sound I’ve ever heard at
CHAIN HOISTS • CONTROL SYSTEMS • SOLUTIONS
I can’t sign off without asking you to take Alexandra Palace...”
note of the team behind our cover stars, Bring
Me The Horizon. The crew were not only
complete diamonds for talking to me as the long
tour was nearing its end, but it was also the first time some of them had ever been
interviewed. Namely FOH Engineer and video wizard, Hutch. I’m glad TPi took the
reigns there, because I learned a lot! And, just when I thought I’d put my brain back
together, I got a science class in theoretical laser diffraction from BPM. Blimey. The
crew pulled off one of the most impressive gigs I saw in 2015, complete with what
has to be the best sound I’ve ever heard at the notoriously tricky Alexandra Palace.
They might not have been overly exposed in the trade press before, but that’s about
to change - their story starts on Pg. 26. Huge thanks to BMTH’s tour photographer
Ashley Osborn too, her stunning accounts from behind the lens give an intimate info@chainmaster.de
insight into the atmosphere on the tour on and off stage. Lady, I owe you a drink
sometime!
And finally, 2016 is looking busier than ever for us. From the Middle East to the
CHAINMASTER BÜHNENTECHNIK GMBH
West Coast of America, there’s a lot of ground to cover before we have 1,200 of you Uferstrasse 23, 04838 Eilenburg, Germany
Tel.: +49 (0) 3423 - 69 22 0
over for dinner. Brace yourselves; you know we like to throw a good party.
Fax: +49 (0) 3423 - 69 22 21
Kelly Murray
E-Mail: info@chainmaster.de
Editor www.chainmaster.de

05
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 ITINERARY

CREW CONTENTS 01/2016

a member of

Editor EVENT FOCUS

Kelly Murray
Tel: +44 (0)161 476 8360 08 UK Festival Awards 2015
Mobile: +44 (0)7738 154689 Coverage of the November conference.
e-mail: k.murray@mondiale.co.uk

Assistant Editor 14 Peter Pan

Ste Durham The musical tour make use of Coda’s new AiRAY
Tel: +44 (0)161 476 8385 system.
Mobile: +44 (0)7891 679742
e-mail: s.durham@mondiale.co.uk
16 Tupac Martir
Editorial Assistant The ‘light magician’ gets creative with the
Stewart Hume Avolites Tiger Touch II for his latest exhibition.
Tel: +44 (0)161 476 8360
Mobile: +44 (0)7712 607419
e-mail: s.hume@mondiale.co.uk 18 Ane Brun
Parashoot and A&H’s dLive console provide
General Manager - Magazine & Awards audio solutions for the Norwegian singer.
Hannah Eakins
Tel: +44 (0)161 476 8360
Mobile: +44 (0)7760 485230 20 Nexo goes to the pantomime
e-mail: h.eakins@mondiale.co.uk The French loudspeaker manufacturer takes part
Advertising Sales - TPi Magazine in a very British tradition...
Charlotte Goodlass
Tel: +44 (0)161 476 9126 24 Nitin Sawhney
Mobile: +44 (0)788 0208 226 The famed producer uses the revolutionary new
e-mail: c.goodlass@mondiale.co.uk
IEM system from KLANG:technologies.
Event Manager - TPi Awards
Mo Naeem PRODUCTION PROFILE
Tel: +44 (0)161 476 8360 26 Bring Me The Horizon
Mobile: +44 (0)775 9272 313
e-mail: m.naeem@mondiale.co.uk The crew behind the Yorkshire metalers invite
Kelly to get to grips with the live setup of the
Graphic Design & Production band’s biggest 2015 tour date.
Dan Seaton: d.seaton@mondiale.co.uk
Zoe Willcox: z.willcox@mondiale.co.uk
40 The Prodigy
Accounts Renowned for their incredible live shows, the trio
Donna Barlow / Sarah Miller: ar@mondiale.co.uk bring a jaw-dropping production to life with the
Chief Executive Justin Gawne help of Show Designer, Andy Hurst.

Mondiale Group Chairman Damian Walsh 52 Johnny Hallyday

www.tpimagazine.com • www.tpiawards.com The 72-year-old French singer proves that age is just
a number at the AccorHotels Arena in Paris.

Cover Photography 60 Disclosure

Bring Me The Horizon by Ashley Osborn
With the release of the Lawrence brothers’
Printed by Buxton Press second album Caracal, the band performs
Annual subscriptions (including P&P): three sellout nights at Alexandra Palace.
£42 (UK), £60 (Europe), £78/$125 (RoW).

Subscription enquiries to: Subscriptions,
Mondiale Publishing Limited, Waterloo Place, IN PROFILE
Watson Square, Stockport SK1 3AZ, UK. 68 TPi’s Stewart Hume visits the famed John Henry’s
Tel: +44 (0)161 476 5580 HQ to talk history, development and plans for
Fax: +44 (0)161 476 0456
e-mail: subscriptions@mondiale.co.uk its 40 year anniversary.

Issue 197 / January 2016 DAY IN THE LIFE OF...

72 Silent Partners’ Gabriel Coutu-Dumont lets us
into his diary.
TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine,
published 12 times a year by Mondiale Publishing Limited under licence. ISSN
1461-3786 Copyright © 2015 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 74 A look at Focusrite’s RedNet AM2.
prior written consent of the Publishers. Every effort is taken to ensure accuracy
in the preparation of this publication but neither Mondiale Publishing Ltd,

nor the Editor, can be held responsible for its contents or any consequential MOVERS & SHAKERS
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are not necessarily those of the Publishers or Editor. The Publishers accept 76 The latest industry appointments.
no responsibility for the return of unsolicited manuscripts, photographs,
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Total Production International USPS: (ISSN 1461 3786) is published 12 times PSA
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subscription price is 117USD. Airfreight and mailing in the USA by Agent
78 Andy Lenthall attends the Event Safety Summit
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Publishing Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK. 82 LD Chris ’Squib’ Swain stops by for a chat.

07
 THE UK FESTIVAL AWARDS 2015:
The conference
The 12th annual UK Festival Awards & Conference took place on
26 November 2015 at The Roundhouse in London, celebrating and
discussing the myriad achievements of the UK festival industry
over the past year.
The conference, which ran throughout the day, brought together
industry insiders for some incisive debate across issues pertinent to
festivals, reviewing the preceding 12 months and portending the
potential challenges ahead.
The first panel of the day, entitled ‘Cashless Rules Everything Around
Us’, comprised a debate on the relatively recent phenomenon of
cashless technology. The session evaluated the first-hand experiences
that several festival organisers and suppliers had with cashless systems
throughout 2015, weighing up the benefits and pitfalls of each.
The ‘CDM Regulations 2015 – A Review’ session was pretty self-
explanatory, including speakers Andy Lenthall (PSA), Steven Corfield
(Serious Stages), Pete Holdich (Star Events), Gavin Bull (HSE), and Q
Willis (PRG). The panel discussed how the new regulations have been
implemented within the live event sector with debatable success. The
implementation of CDM across the board has seen varying complaints,
and this issue is still being navigated on a job-by-job basis.
The ‘State of Welfare’ panel invited an eclectic cast of security
specialists, harm reduction innovators, drinks brands, and academics
to discuss the health risks involved in festival attendance – from the
frequently addressed and constantly developing issues of crowd safety
and drug and alcohol usage, to the oft-overlooked problem of hearing
damage. With these areas in mind, the panel discussed whether
festivals should be doing more to reduce the potential harm their
audience members may incur onsite.
UK festival industry group Powerful Thinking launched an
environmental impact report, ‘The Show Must Go On’, during the
08
final panel of the day. The report focussed on how festivals can
minimise their carbon impact. It was subsequently presented to the
UN Convention on Climate Change, which took place in Paris from 30
November until 11 December, and saw 196 countries meet to sign a
new climate change agreement.
By presenting a concise overview and proposed roadmap for
reduced carbon impact at festivals in line with international targets, the
report’s authors hope that the UK festival industry sector can lead by
example in achieving impact reduction targets by 2025.
Based on the most extensive research to date analysing the carbon
footprint caused by festivals in the UK, the report detailed the current
impact of the UK festival sector. It covered the significant impact areas
and discussed where there is potential for reduction.
There is a call for festivals to pledge their commitment to achieve a
50% reduction in green house gas emissions by 2025, in line with UK
targets.
Chris Johnson, founder of Powerful Thinking, commented: “This
is a critical moment for the future of the world. Festivals can play a
valuable role, collectively reducing their own environmental impacts,
while showing the 3.17 million ticket buyers that they can also make a
difference.
“The response has been amazingly positive, and we hope that will
be reflected in the list of festivals signed up to the pledge that we will
be publishing on the first day of spring, 20 March 2016.”
During the evening’s UK Festival Awards, the award for the Best
Use of New Technology went to Quantum Special Effects for their
pioneering biofuel flame system utilised on Arcadia Spectacular at
Glastonbury Festival.
Shaun Barnett, CEO of Quantum Special Effects, commented: “We
are delighted to have our work recognised within the festival industry.
Opposite: The conference once again attracted talking heads from all over the UK festival industry. Below: Chris Johnson of Powerful Thinking speaks on sustainability initiatives
during the ‘Making Green Fields Greener’ session; Powerful Thinking launched its environmental impact report ‘The Show Must Go On’ to conclude the conference; Michelle
O’Loughlin of Chill Welfare explained the company’s approach to harm reduction at festivals; Paul Legge of Showsec and Alex Brooke of Peppermint Bars share a nice moment
during ‘The State of Welfare’ panel.

“It’s been a lot of hard work but so rewarding to see our biofuel flame
system being spectacularly showcased on the Arcadia spider around the
world. It’s not all about getting as many awards on the mantlepiece as
we can, it’s about gaining the recognition and respect from our peers in
the industry who can appreciate the time, thought and work that is put
into this new, sustainable technology.”
Other notable winners were Bestival, Y Not, and Festival Number 6
for Best Major, Medium-Sized, and Small Festivals, respectively; Kendal
Calling for Best Toilets; Virgin Trains for Best Brand Activation; Liverpool
Sound City for Best Metropolitan Festival; Liverpool International Music
Festival for Best Festival for Emerging Talent; Eroica Britannia for Best
Non-Music Festival; and Creamfields for Best Dance Event.
Perhaps the most coveted achievement of the night; The Outstanding
Contribution to Festivals Award, was presented to Peter Gabriel for
founding and developing the world music festival WOMAD. Since its
inaugural year, WOMAD has presented over 170 festivals in more than
30 countries, and remains the most successful and highly regarded
world music festival on the planet. Perhaps the most cosmopolitan
festival in existence, WOMAD’s truly singular endeavor to represent as
many cultures as possible has led it into its 33rd consecutive year as both
a bona fide British institution and international phenomenon.
Presenting the award was British comedian and actor, Eddie Izzard,
who had flown in specifically for the event on a short break from his
North American comedy tour. The two notable stars sat together during
the awards dinner and bestowed great chemistry and mutual admiration
on stage.
TPi
www.festivalawards.com

704
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09
 uk festival awards 2015: THE WINNERS

Best Use of New Technology The Extra-Festival Activity Award

In association with: White Light
WINNER: QUANTUM SPECIAL EFFECTS FOR ARCADIA WINNER: THE BIG FEASTIVAL FOR THE WHEAT PROJECT
BIOFUEL FLAME SYSTEM AT GLASTONBURY FESTIVAL

Concession of the Year Best Hospitality Best Toilets

In association with: Snoozebox
WINNER: THE BREAKFAST CLUB WINNER: WILDERNESS FESTIVAL WINNER: KENDAL CALLING

The Brand Activation Award Agency of the Year Promoter of the Year
In association with: IQ Magazine In association with: Bulmers
WINNER: VIRGIN TRAINS WINNER: CAA WINNER: LOST VENTURES

Anthem of the Summer Headline Performance of the Year Line-Up of the Year
In association with: TPi Magazine In association with: Festival Insights In association with: Charge Candy
WINNER: MARK RONSON - UPTOWN FUNK WINNER: FLEETWOOD MAC AT ISLE OF WIGHT FESTIVAL WINNER: LATITUDE

10
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 uk festival awards 2015: THE WINNERS

Best New Festival Best Festival for Emerging Talent The Grass Roots Festival Award
In association with: ID&C
WINNER: WILD LIFE FESTIVAL WINNER: LIVERPOOL INTERNATIONAL MUSIC FESTIVAL WINNER: BEAUTIFUL DAYS

Best Overseas Festival Best Metropolitan Festival Best Dance Event

In association with: Yourope In association with: Bucks New University In association with: PRG XL Video
WINNER: ANNIE MAC PRESENTS: LOST & FOUND WINNER: LIVERPOOL SOUND CITY WINNER: CREAMFIELDS

Best Family Festival Best Non-Music Festival Best Small Festival

WINNER: ISLE OF WIGHT FESTIVAL WINNER: EROICA BRITANNIA WINNER: FESTIVAL NUMBER 6

Best Medium-Sized Festival Best Major Festival The Outstanding Contribution to Festivals Award
In association with: Eventbrite In association with: Heineken In association with: Playpass & PayPal
WINNER: Y NOT FESTIVAL WINNER: BESTIVAL WINNER: PETER GABRIEL

12
 EVENT FOCUS: Peter Pan

FLYING HIGH, TRAVELLING LIGHT -

CODA AiRAY ON TOUR WITH PETER PAN
PETER PAN - THE NEVER ENDING STORY IS AN ACTION-PACKED, ARENA-SCALE PRODUCTION CREATED
BY THE MUSIC HALL OF BELGIUM, THAT HAS TRAVELLED THE WORLD TO RAVE REVIEWS. A PRODUCTION
IN THE ROUND, THIS TRULY SPECTACULAR SHOW HAS CONSISTENTLY WOWED AUDIENCES WITH ITS
COLOURFUL COMBINATION OF STATE OF THE ART DIGITAL IMAGING, ACROBATICS, PYROTECHNICS AND
STRONG MUSICAL PERFORMANCES. FEATURING CLASSIC SONGS AND A SCORE BY GRAMMY-WINNING
COMPOSER MATT DUNKLEY, THE SHOW RECENTLY EMBARKED ON ITS LATEST JOURNEY, THIS TIME ACROSS
ASIA.

Sound Designer Guido Olischlager worked
with Belgian audio rental company Studio
Haifax on the critically acclaimed, large-scale
production of the First World War musical
14-18 and this next stage of the Peter Pan
tour would reunite them in tackling a new
challenge. While Studio Haifax already
carried an extensive inventory of Coda ViRAY
compact line-array speakers, Olischlager had
attended the official launch of Coda’s brand
new AiRAY series in July 2015 and was left in
no doubt that the new range was a perfect
fit for the forthcoming tour.
He perceived that AiRAY would offer both
sonic and logistical advantages to the tour.
Studio Haifax in consultation with Olischlager,
decided to invest in AiRAY and ordered 54 units
with which to embark on the Peter Pan tour. In
mid-August, Pieter Begard, Managing Director
of Studio Haifax and his team installed the new
AiRAY configuration into the Hasselt Ethias
Arena for rehearsals. Begard immediately shared
Olischlager’s impressions of the new system and
declared that AiRAY marked a new concept in
line array.
The AiRAY is fully-integrated, as a compact
12-inch, three-way line array systems, designed
for a wide variety of applications where high
output, even coverage and outstanding
intelligibility is required.
The unique package brings together the
high output of a large system with the flexibility
of a compact system creating a new category
in large reinforcement systems. No other
manufacturer has achieved the sonic results
offered by AiRAY from a lightweight package
(40kg) that has the same footprint as a two
eight-inch systems. The fact that AiRAY is
able to deliver this level of performance from

14

Opposite: The story of the boy who never grew up has now been made into a musical that has been touring the globe. Below: The Peter Pan tour is now entertaining audiences across Asia; Sound
Designer Guido Olischlager decided to use Coda’s new AiRAY series for the tour as he thought it would offer both a sonic and logistical advantages for the show.
significantly smaller-than-standard cabinets has
clear implications for the market.
When the logistical elements of the equation
are factored in, it quickly becomes obvious that
savings in costs and time are significant. A tour’s
budget is very much at the mercy of expenditure
on transportation and crew and since the AiRAY
speakers are something like half the size and
weight of comparable systems, the financial
implications are clear. Many venues on this
particular tour (as is often the case) offered only
a short window of opportunity for load-in and
set-up, so the lightweight, easy-handling AiRAY
system reduced pressure by saving a great deal
of build time.
The speaker was developed with the
economic considerations faced by touring
productions very much to the fore and the
Peter Pan production neatly illustrated the
unique advantages offered by AiRAY. The
requirement for the highest possible sound
quality is a given for a production of this nature
and taking both sound quality and logistical
aspects into consideration, Music Hall’s David
Wright, Production Manager for Peter Pan and
with 40 years of touring experience, offered this
appraisal of AiRAY: “On my recent tours we’ve
been equipped with most of the popular brand
line-array systems and it’s worth saying from
the off that the AiRAY system travels, loads
and unloads easily and efficiently. We carry six
there’s a new kid in town. meet the d3 2x2plus. ISE, 8-H238.
hangs for an ‘in the round’ arena production
and it unloads and flies in no time. AiRAY’s
light weight is beneficial when calculating
rigging weight combined with other production
elements in the same roof space and its low
power consumption to high performance ratio is
also a bonus.
“Its compact, lightweight design made a
significant contribution in saving space for
freighting and trucking. The system is certainly
powerful, appearing to effortlessly produce
surprising volume that has a classy warmth and
clarity. We’re very happy with AiRAY.”
Sound Designer Guido Olischlager
was similarly impressed: “I was already an
enthusiastic Coda user, especially the ViRAY
system. I’d heard about AiRAY in early 2015
and went to its introduction at Frankfurt. At
that point, given its specifications, I began to
consider whether it might prove to be a good
fit for the Peter Pan arena tour. Its subsequent
performance at the product launch confirmed
everything I’d thought. The system has
enormous power and great projection and even
at 100 metres, the sound is still ‘in your face’.
In rehearsals at the empty Ethias Arena I was
surprised by the power at low output levels,
resulting in a show level without the massive
slap-back you normally get in an empty arena.
I’ve worked in that arena on many occasions,
with many major brands and it was quickly
www.d3technologies.com
EVENT FOCUS: Peter Pan
obvious that AiRAY performed way better than
the others. During rehearsals we were playing
tracks through the system without any channel
or system EQ and the sound was perfect!”
Having confirmed AiRAY’s sonic credentials
in advance of the tour, all that remained for
Guido was to load up and ship out into the
real live environment of Peter Pan, where every
aspect of the system’s capabilities would be fully
tested. Guido’s report from the front confirmed
that every expectation, creative and practical,
had been met: “The easy and fast fly rigging
system means that putting up the arrays is a
breeze. The prediction software is very precise
so there not much in the way of correction
when the system is flown - only the occasional
minor system correction was necessary to adjust
to a particular venue. Both production and
promoter were very pleased with the sound.
Apart from the superior sound that the system
produces, it’s the power to size ratio that really
makes this a great touring product. Ultimately
you have the size and weight of a mid-sized
system, which takes up far less trucking space
but the performance of a large scale system
that can handle any venue. When the ease of
rigging is factored in, for me, Coda’s AiRAY is a
winner!”
TPi
www.peterpan.is/en/
www.codaaudio.com
15
 EVENT FOCUS: Tupac Martir
TUPAC MARTIR GETS UNIQUE WITH
AVOLITES TIGER TOUCH II
THE CONSOLE’S WINAMP PLUG-IN MADE IT THE PERFECT SOLUTION TO ARTIST TUPAC MARTIR’S AUDIO/
VIDEO REQUIREMENTS ON A NEW KINETIC SCULPTURE, IN ADDITION TO PROVIDING LIGHTING CONTROL.
Graduating in 2000 from Omaha, Nebraska’s
Creighton University with a bachelor’s degree
of fine arts, Tupac Martir - of Satore Studio -
returned to his alma mater recently to present
a special art installation called Unique, a self-
described giant “graphic novel” brought to life
with light and shadow.
Light is central to the art of multimedia artist
Martir. After illuminating concerts for Elton
John, Sting and Beyoncé, major festivals like
Coachella, and London Fashion Week shows for
designers Stella McCartney, Vivienne Westwood
and the late Alexander McQueen, Martir has
gained an enviable reputation.
“Using new and old etching techniques, the
story is told through 12 chapters, with eight
drawings per chapter,” he explained of his latest
project. “The 96 drawings are then processed
and individually placed within four three ft by
10ft MDF panels. Each panel has a set of tools
behind it, which is prepared with motors, lights,
wireless dimmers and controllers, in order to
programme their movement and intensity, thus
using them to tell the story one drawing - or
shadow - at a time.
“The installation is programmed to music
composed by George Blacklock, Oiram and
Cabinet of Living Cinema to tell the story, as
the light unveils in coordination with the score,
revealing the images that have been created. A
juxtaposition exists between the box, image,
shadow, movement and music in which all
collectively create a new experience for the
16
audience, who become both viewers and
participants.”
Although the kinetic sculpture appears fairly
simple from the front, Martir noted that the
technological implementation behind the piece
is deceptively complex. “When I was looking
at how to control the installation, one of the
main concerns was about the audio, and how
we could trigger the timecode from a separate
machine,” he said. “After some research, we
found out that the Avolites Tiger Touch II has a
Winamp plug-in that would allow us to control
music directly from the console, eliminating the
need for another computer. When you leave
an installation for a long period, there is always
that worry of what can go wrong and the
process to fix that problem.
“By taking an entire computer out of the
equation, it helped those looking after the
installation be a lot calmer, since they knew
everything would come from a single place. This
also made it easier for us, in case we needed
to troubleshoot something, to know where to
look.”
A longtime Avolites fan, Martir points out
that he regularly uses the Tiger Touch II for his
fashion show lighting designs, which require
quick setups and intuitive control. “Most of my
dimmers are Avolites,” he commented.
Martir reported that the Unique installation
at Creighton University came off without a
hitch, and the plug-ins and programming ran
very smoothly. “The desk performed perfectly,”
he said, adding that the console will be
travelling with the piece to its next presentation
in March 2016 at the USITT Conference and
Expo in Salt Lake City, Utah, where an iPad
will be added for even more control over the
experience. Following USITT, Unique will then
head to London, Martir’s base, later in the year.
He uses a lot of macros and as well as some
cue lists to create the process with which
the motors come to life. Avolites engineers
wrote a specific fixture profile for the system’s
encoders and drivers made by RC4 Wireless,
which provides wireless lighting and motion
technology for theatre, film, and television.
Although he received Unique’s Tiger Touch
II only five days prior to the show going live,
Martir said it was “enough time to make sure
the fixtures were reacting properly to what we
were trying to do.” He noted that RC4 had only
five RC4Magic Series 3 DMXmot available at the
time, and that he actually had four of them. “So
we needed to make sure that it was all stable
for the duration of the installation,” he added.
Martir concluded by saying that he was
humbled over the positive reaction to his
creation. “There is a great connection between
what the technology allows us to convey and
the human element of the piece,” he said.
“The more you are into it, we have realised,
it becomes a type of meditation for people.”
TPi
www.avolites.com
http://satorestudio.com/
TPI_S-Series_Launch.indd 1 27/10/2015 8:41:51 AM
 EVENT FOCUS: Ane Brun

ALLEN & HEATH DLIVE GETS ITS

FIRST UK OUTING WITH ANE BRUN
HAVING BEEN A KEY POINT OF CONTACT DURING THE DEVELOPMENT OF ALLEN & HEATH’S NEW DIGITAL
MIXING DESK, FOH ENGINEER OSCAR SÖDERLUND WAS THE IDEAL CANDITATE TO SHED SOME LIGHT ON
HOW THE DLIVE HAS FARED ON ITS FIRST UK TOUR. TPi’S STE DURHAM HEADED DOWN TO ANE BRUN’S
MANCHESTER DATE TO SPEAK WITH THE MAN HIMSELF.

Three days before Norwegian songstress
Ane Brun was due on stage in Manchester,
her FOH and Monitor Engineer Oscar
Söderlund was lying in a hospital bed,
quite understandably feeling the effects of
a disagreement between his enduro bike
and a tree. Nevertheless, true to the adage
made famous by Freddie Mercury and co,
he and his new Allen & Heath desk were
both present and correct at the city’s Gorilla
venue to ensure that the show did, in fact,
go on.
Söderlund has been an integral part of
Brun’s live production since he joined the
ranks in 2007, stepping in to oversee audio
responsibilities for the singer / songwriter’s
Changing of the Seasons tour. This was the
beginning of what he called a “complimentary
dynamic”, in which both performer and
engineer have consistently endeavoured to
improve the quality of their live offering.
He explained: “Her records have become
more challenging over the years, taking it up
a notch every time, and we always want to do
the same from a production standpoint. I try to
take it as far as possible live and get it as close
to the records, making sure I deliver them in an
interesting way. Ane knows what she wants but
also trusts me to do a good job.
“It is very challenging to put Ane’s later
albums into live sound. It’s a constant journey
and one that teaches you new tricks all the
time.”
Söderlund has been on the road since 1990,
starting off directly from school. He said: “I
was tired of school so I went to the local sound
company. I was really into music and knew I
wanted to work in the industry in some way,
and engineering was the best choice. I gradually
stepped up the shows and gigs, always trying to
move forward and raise the bar. Working with
the artists I choose gives me freedom to grow
and they trust me to deliver their vision live. It’s
a very privileged way of working.”
Söderlund has had his own freelance
company, Parashoot, since 1999 and, during
this time, has accumulated a wide range of
stock - consoles in particular. “I try to focus on
creating a nice mixing environment and this
includes consoles, outboards, microphones, and
speakers. To create a perfect signal chain from

18

Opposite: FOH and Monitor Engineer Oscar Söderlund has been directly involved with the development of the dLive. Below: Söderlund tries to take Brun’s music as far as possible in a live environment,
making sure he delivers her records in an “interesting” way.
start to finish is my ultimate goal, but this is a
constant journey as I am such a gearhead!”
After hearing the capabilities of Allen &
Heath’s iLive T-series for the first time on a PJ
Harvey tour in 2009, Söderlund instantly bought
an iLive-T112 and has continued buying more
Allen & Heath consoles ever since.
This loyalty, along with his willingness to
suggest improvements to the iLive desk, led
to Allen & Heath consulting him during the
development of its new offering - the dLive.
Over the last two years, Söderlund has made
trips to the company’s factory in Penryn,
Cornwall and lent his insight throughout the
dLive’s beta testing phase.
He commented: “I initially had suggestions
for the iLive that were held back due to lack of
computing power. We had to wait until the iLive
Mk II came around, which ended up becoming
the dLive, but we continued the process of
working together. I saw the first mock ups of
the dLive two years ago, and two Christmases
I have been to Penryn. The first year it was a
cardboard box, then the next year it was a
factory build. I feel really close to this console
because I have been part of the process.
“When I got the beta console I couldn’t
have hoped for it to be this good. They’ve done
remarkable work with the preamps, which are,
I think, the best sounding preamps in the digital
live world. They are super flat, natural, and have
a good dynamic range. This is strengthened by
really good effects and EQ, just like the iLive. It’s
been a joy to use the dLive ever since the official
release,” Söderlund added.
“I knew that the team at Allen & Heath
were developing a nice preamp, but they
really knocked it out of the park with the end
product.”
With a mixture of instruments such as
upright bass, violin, vibraphonette, acoustic
and electric guitars and keyboards, combined
with large reverbs, delays and sometimes even
distortion on the drums, the system (along with
Söderlund himself) has a lot to deal with!
The key success in this challenge is
rooted in Söderlund’s strong work ethic, and
complemented by his familiarity with, and
EVENT FOCUS: Ane Brun
fondness for, his Allen & Heath desk.
He said: “I have found myself working the
hpf on Ane’s vocal in a span of 185-233hz,
depending on the song. It is so precise in its
handling of the source you put through it. The
same goes for the EQ, in that even the smallest
changes can make a huge difference. When
using the dLive it really feels like I’m using a
surgical tool!”
That said, Söderlund was still keen to point
out that the dLive is designed to deliver this
precision whether the surgeon in question is
dealing in acoustic guitars and violins or leather
jackets and distortion pedals!
He concluded: “No matter what you are
trying to create, the dLive gives you the tools to
do it. The desk really does nurture creativity and
that means it is a lot of fun when mixing live!”
TPi
www.anebrun.com
www.allen-heath.com
www.parashoot.se
19
 EVENT FOCUS: Nexo at the Panto

NEXO DOES PANTO

STRANGE THINGS HAPPEN IN BRITISH THEATRES AT THIS TIME OF YEAR. MEN DRESS UP AS WOMEN, WOMEN
DRESS UP AS BOYS, BOYS DRESS UP AS HORSES. CHARACTERS NAMED WISHEE WASHEE, BARON HARDUP
AND THE UGLY SISTERS LISTERIA AND SALMONELLA WEAR OUTRAGEOUS STYLISED COSTUMES AND MAKE-
UP: STAGES ARE FILLED WITH SHETLAND PONIES, SHEEP PUPPETS AND DANCING DWARFS - ALWAYS IN
GROUPS OF SEVEN. THERE ARE TRULY TERRIBLE JOKES, AND USUALLY, A FAMOUS STAR TOPPING THE BILL.
“WHERE’S MY CAREER?” HE CRIES, AS THE AUDIENCE CHORUSES IN REPLY, “IT’S BEHIND YOU!” LADIES AND
GENTLEMEN, WELCOME TO PANTOMIME...

It’s pantomime season, a quintessentially
British theatre form that has never really
caught on anywhere else in the world. As
Andrzej Lukowski, the Theatre Editor for
Time Out London, said: “Frankly, pantos are
so weird…I’ve never managed to explain
what they are to somebody who didn’t
already know.”
Let us try. Dating back to the 17th Century,
the development of English pantomime
was strongly influenced by the continental
commedia dell’arte, a form of popular theatre
that started in Italy. This street entertainment
made its way to the theatres of 18th Century
Britain, where production values really took off:
fusing spectacle, music and ballet, the London
theatre scene added mechanical serpents and
flying vehicles, and introduced animal roles -
dragons, ostriches, camels.
It gradually became more topical and
humorous, often involving spectacular and
elaborate theatrical effects. By the early
1800s, the pantomime’s classical stories were
supplanted by stories adapted from European
fairy tales, classic English literature or nursery
rhymes. The arrival of the modern clowns like
Joseph Grimaldi brought comedy and slapstick
to the panto formula.
Traditionally performed at Christmas, today’s
pantomime stories include Cinderella, Jack
and the Beanstalk, Aladdin, Sleeping Beauty,
Mother Goose, Dick Whittington and His Cat,
Beauty and the Beast, Snow White and the
Seven Dwarfs, Peter Pan and The Wizard of Oz.
Scripts change from year to year, but generally
contain four strands of humour including sight-
gags, topical jokes, corny lines and downright
rude innuendo. In the UK, this is considered to
be family entertainment!
One person who does understand the
mysterious art form of panto is Chris Headlam,
MD at leading theatre audio providers London-
based Orbital Sound, which had 40 pantomime
productions in the UK this season. Yes, you read
that right – 40 productions, all running from
mid-December to early 2016. Working closely
with the UK’s specialist producers First Family
Entertainment, Qdos and Evolution, the seasonal
load takes Orbital teams all around the UK, to
regional auditoria as well as some of the largest
theatres in the country, such as the 2000-seater
Royal Opera House in Manchester, the Theatre
Royal in Newcastle, and the Hippodromes of
Bristol and Birmingham.
“The production values are of the highest
order,” explained Headlam. “These shows ask
for a lot of volume, with live bands competing
against an audience of screaming kids. Yet
because of the script and the jokes, speech
intelligibility has to be perfectly clear above the
music level.”
Orbital has got the business of pantomime
down to a fine art. The company provides

20
EVENT FOCUS: Nexo at the Panto
Previous: The bright lights and extravagant costumes that are all too familiar to the population of the UK. Below: This season Orbital Sound was involved in 40 pantomime productions; The company
employed the services of French loudspeaker manufacturer Nexo to develop sound solutions for the UK theatre market.
design, logistics, support, accommodation, for
more than 150 crew throughout the season
– in fact, the process starts in early summer.
The company joined forces with some of the
UK’s top theatre sound designers, scattering
the likes of Gareth Owen, Rick Clarke, Richard
Brooker, Chris Wybrow and Tom Lishman into
the provinces. In the most prestigious venues,
they bring in high-spec sound reinforcement to
deliver SPLs high enough for the all-important
audience interaction, while maintaining a duty
of care for the delicate ears of young audiences,
getting their first experience of live theatre. This
is no easy task.
This season, for the first time, Orbital
has sourced its new systems from French
manufacturer Nexo, which recently squared its
R&D sights on the theatre market. In Bristol, a
little bit of history has already been made, as
Orbital became the first in the world to install
Nexo’s brand-new ID Series loudspeakers,
developed with under-balcony fills in mind.
For the Hippodrome’s production of
Snow White and the Seven Dwarfs, Sound
Designer Tom Lishman is working with three
complementary Nexo loudspeaker systems,
a modular STM line array for the main PA,
supplemented by a GEO M6 compact line array
flown above the proscenium arch to serve
the second balcony, and numerous compact
cabinets from the ID Series installed as under-
balcony and front fills.
Chris Headlam is as energised as a
pantomime Dame about his investment in the
little ID boxes, buying the first units off Nexo’s
production line for Orbital rental inventory. “This
22
is a latest generation product from the modern
era of loudspeaker modelling. The ID24 has
a user-rotatable horn, providing 60° or 120°
HF coverage; at 120° it is ideal for our delay,
under-balcony, infill applications in the theatre
auditorium.”
The bijou ID24 cabinet (310mm wide by
132mm high) contains twin four-inch drivers
in combination with an HF compression driver
offering two preset directivity options. Since the
box can be mounted vertically or horizontally,
this effectively gives the user four different
directivity options in a cabinet that, Nexo
reported, is the smallest it has ever created.
“Vocal projection is very important and these
cabinets sound natural even at high SPL. Nexo
has made it easier for theatre sound designers;
the ID24 is small enough, powerful enough and
light enough for use in multiple applications.
In Bristol, we’re using two different Nexo line
arrays with the ID compacts, and as a rental
supplier, I’m impressed by the ‘family sound’
that makes all these loudspeakers sound so
cohesive as a system.”
One of the hallmarks of pantomime is the
highly interactive participation of the audience.
“This is not a respectfully hushed environment,”
said Headlam. “There’s a lot happening on and
off stage. Sound imaging quality is a priority
so that the audience remain engaged, even
with a very crowded stage, but it is harder to
maintain the imaging when you’re working with
high SPLs. We keep our speaker line arrays low,
closer to the performers, but this increases the
risk of feedback. This season, we’ve used Nexo’s
GEO M6 compact line array on several shows,
and I believe this is the new benchmark when it
comes to feedback rejection, often the problem
that lets down the baby line arrays.”
Headlam cites another Snow White and the
Seven Dwarfs production taking place at the
elegant Marlowe Theatre in Canterbury. For
this 1,200-seater, with two balconies, Orbital
has installed six arrays of GEO M6, at performer
level, upper stage level for balcony one with
two more six-cabinet arrays flown over the
proscenium arch to address balcony two. In
Manchester, at the historic 1,800-seat Opera
House, the GEO M6 is deployed in left and right
12-cabinet arrays, under the direction of highly
experienced Sound Designer Chris Whybrow.
“The SPL and throw of this little cabinet almost
defies logic. In this auditorium, we’re still getting
consistent SPL in the 90s!”
As you’d discover if you went to the 11am
show, packed with 1,800 primary school
children, jumping around like excitable frogs
and screaming the classic panto responses, the
defining characteristics of pantomime sound are
that it has to be dynamic, highly energetic and
LOUD!!!
“Oh no, it doesn’t!”
“Oh yes, it does!”
“Oh no, it doesn’t!”
“Oh yes…. [right, that’s quite enough of that -
Editor]
TPi
Photos: First Family Entertainment
www.nexo-sa.com/en
www.orbitalsound.com
 Aerial photograph ©DeSciose 2015
Make everyone happy.
Even the neighbors.

“The rig almost defies gravity with the sound staying put exactly where
you want it. The place was sold out every night and everyone in the
venue had nothing but positive things to say… and we didn’t hear a
peep from the neighbors – exactly what we were looking for.”
Jason Decter
FOH Engineer, Bassnectar, at Red Rocks Amphitheater

The goal of any production is to make everyone happy. Artist. Audience. Promoter. Crew.
And now more than ever – the neighbors.
To uniformly cover the audience with breathtaking audio that easily meets the volume demands of the production is one thing.
Staying within the limits of local noise ordinances is another thing entirely. But Adaptive Systems™ from EAW do all of that at once.
In seconds. With only the click of a mouse.
For a typical Adaptive System, EAW Resolution™ software harnesses the power of thousands of discretely controlled audio components
to perfectly match any three-dimensional coverage requirement while simultaneously minimizing levels outside the venue.
Everyone is happy. Every time.
Find out more about EAW’s game changing Adaptive Systems at eaw.com/products/adaptive

www.eaw.com

Adaptive_ad NoiseOrdinance_TPi.indd 1 11/17/15 4:17 PM

 EVENT FOCUS: Nitin Sawhney

NITIN SAWHNEY
MONITORS SUCCESS WITH KLANG
RENOWNED PRODUCER AND COMPOSER, NITIN SAWHNEY, USED KLANG:TECHNOLOGIES’ 3D IEM SYSTEM
ON HIS MOST RECENT TOUR. THE PRODUCT AIMS TO GIVE THE ARTIST A MORE ORGANIC ONSTAGE SOUND AS
WELL AS ALLOWING FULL CONTROL OF THEIR MIX. TPi’S STEW HUME WENT ALONG TO THE LAST DATE OF
THE TOUR TO GET THE OPINIONS OF THE CREW AND MUSICIANS.

For some artists, there is a hesitation
to make the leap from wedge monitors
to IEM systems due to fears such as
unnatural sound or being disorientated by
a traditional stereo mix. German company
KLANG:technologies has developed
a solution with its KLANG:fabrik and
revolutionary 3D IEM processing.
Rather than providing a simple left and
right mix, the 3D IEM gives artists the ability
to manipulate where the sound appears to be
originating from, creating a simulated acoustic
environment. The KLANG:fabrik also puts the
power of an artist’s mix in their hands with
an app that is controlled on a tablet. Pascal
Dietrich, Founder and Chief Marketing Officer
of KLANG:technologies, stated: “It’s all about
unrivalled sound transparency for live and studio
musicians. Our 3D audio technology lifts your
stereo headphones and IEMs to the next level.”
In last month’s TPi, we covered a showcase
of the new KLANG system courtesy of its UK
distributor, HD Pro Audio. After the event
Andy Huffer, HD Pro Audio’s Sales Director,
commented: “If initial client reaction is
anything to go by, KLANG:technologies’ 3D
IEM processing has the potential to be the next
major step in the evolution of stage monitoring.
With multiple musicians able to control their
own mix with standard touch screen tablet
devices plus the revolutionary effect of the 3D
processing, they can bring greater separation,
clarity and more importantly, reality to their
personal mix.”
Several artists and bands have already sung
the praises of the KLANG:fabrik including John
Dolmayan, drummer for System Of A Down. The
system had not been used on a tour in the UK
until HD Pro Audio supplied it for producer and
composer, Nitin Sawhney. The producer, who
tours with eight other musicians, entertains fans
with his fusion of traditional Indian music and
everything from drum ‘n’ bass to folk-influenced
pieces.
Speaking to Sawhney backstage on the
last date of his tour, he discussed about the
KLANG:fabrik, stating: “It is very effective in
allowing everyone to work with their own
sound and control exactly what they are hearing
in their in-ear monitors. It’s a fantastic system
and it has noticeably improved everything for
us. We are able to play a lot tighter and really
listen to ourselves as well as each other. This
means we get to enjoy the gig and that often
means the audience enjoys the gig as well.”
Sawhney’s FOH engineer David McEwan
explained how the relationship with HD Pro
Audio came about: “I got in contact with Andy
Huffer from HD Pro Audio because I wanted
an Avid S3L to take on this tour.” It was at this

24
 EVENT FOCUS: Nitin Sawhney

Opposite: Nitin Sawhney and his eight fellow live musicians all making use of KLANG:technologies’ KLANG:fabrik and revolutionary 3D IEM processing. Below: David McEwan standing by his Avid S3L;
Both FOH control and the KLANG:technologies equipment was supplied by HD Pro Audio.

time that McEwan saw the KLANG for the first
time and got offered the option to take it on
the road.
“We had three days rehearsal when Tom
Turner from HD Pro Audio came out to set up a
KLANG system and to show us how to configure
it with the Dante matrix.” For this short tour,
McEwan explained that he used a Focusrite
RedNet AM2 device to take analogue feeds
from the Avid stage boxes and convert to Dante
which then feeds into the KLANG:fabrik 3D IEM
processor.
Backline Technician for Sawhney, Paddy Dell,
spoke about his experience with the KLANG
app. “After two rehearsals all the guys on stage
were more than happy with using the app. Nitin
himself was blown away by how effective it was
and how easy it was to use.”
McEwan added: “Nitin hasn’t even touched
his set up since we rehearsed. He got it right
and left it.” The crew were keen to comment
how smoothly this whole tour had been running
and it saved so much time while setting up at
soundcheck. “With a band like us with nine
musicians and several instruments, soundcheck
can be a bit of a nightmare. The KLANG system
has reduced are souncheck time significantly.”
Huffer summarised: “Hats off to Nitin
and the band, and to David for taking the
plunge with this great new live performance
technology. Hopefully he’ll be among the first
of many converts to the wonderful world of
KLANG.”
To learn more about the system, KLANG has
produced a short video available online that
demonstrates its 3D monitoring technology
and can be experienced with any stereo
headphones. You can also download a trial
version of the app to get a feel for the user
interface.
TPi
www.nitinsawhney.com
www.klang.com/en/home
http://hdproaudio.co.uk

25
PRODUCTION PROFILE: Bring Me The Horizon

BRING ME THE HORIZON

 PRODUCTION PROFILE: Bring Me The Horizon

LANDMARK ALBUM THAT’S THE SPIRIT, BECOMES AN INTERCONTINENTAL LIVE

VICTORY THANKS TO “SOME OF THE BEST IN THE INDUSTRY”.
TPi EDITOR KELLY MURRAY TALKS TO THE CREW BEHIND THE CURTAIN...
PRODUCTION PROFILE: Bring Me The Horizon
Below: The band enjoy a little bit of sparkle on this tour, thanks to SFX vendor, BPM.
The city of Sheffield typically gives me
three reasons to inappropriately high five
certain strangers: whoever is within reaching
distance when northern accent warrior Sean
Bean brings epic death scenes to the silver
screen; anyone able to quote the Monty
Python genius of steel city gentleman
Michael Palin; and Henderson’s Relish
advocates for knowing the key to a decent
vegan Bloody Mary (this one usually involves
hand-slapping barmen when unable to lift
my head).
In ‘our world’ however, Sheffield should
also be noted for the likes of electro metal
merchants, Bring Me The Horizon. The five piece
has caught the attention of mosh pit forging gig
goers across the globe so effortlessly that their
reputation has ensured their touring production
values have been ramped up, bringing a full
throttle, gut churning technical feat to the
forefront of their shows.
Whereas the band could once be found in
the sweaty depths of the country’s stickiest
venues (think sweat rain), they’ve progressed
into one of the nation’s most reliably
entertaining metalcore acts worthy of main
stage festival glory. They’ve also seemingly
established a touring vibe that has their crew
and suppliers genuinely gushing about working
with them. Not that any of that takes away from
the blue-aired (probably unprintable) grit of
their grassroots performances, mind.
Helping them achieve continued success
from country to country over the last couple
of years is their Tour and Production Manager,
Rob Highcroft. As hard a grafter as one might
imagine for a relatively young PM, Highcroft
28
is the kind of no-nonsense business man that
Yorkshire breeds in abundance. It’s just a mere
observation that the majority don’t come from
a DIY hardcore punk background and boast fast
food logo knuckle tattoos…
CONSISTENT PRODUCTION SUPPORT
“I got into the touring business 14 years ago,
when I was working with a friend’s band. I then
started a small rehearsal studio in Leeds and
the bands started trying to hire my van to get
to their gigs! One thing led to another and I
started touring full time until I opened my own
splitter van hire company. I’ve been on the road
ever since,” he said, as a Burger King crown
helped to move his glasses back in their usual
resting place.
His connections with up and coming bands
led to a job with Raw Power Management,
where he helped to package some of its roster’s
touring essentials. “I was looking after a couple
of their bands for pre-production and tour
budgeting, including You Me At Six [whom
he’s worked with since 2008] and Bullet For My
Valentine,” he explained.
It was during this time that Highcroft further
developed his own skills and became versed
in managing a dual touring role, which he first
did with You Me At Six: “They started doing
production tours and as I learned more and
more about how the technical side worked,
seeing the ins and outs of a full touring
production, I learned those managerial skills
too. With that band, there was a point where I
could take on both roles, which is what I now
do for Bring Me The Horizon.”
The band have been a client since the
summer of 2013 and by the following year it
was clear that Highcroft needed to grab a bunk
in their tour bus: “After the advancing stage it
just made sense to see it all the way through,
and give the band my full support.”
To ensure this can happen seamlessly, he
credits his team for their consistent support:
“You have to have a crew that you can trust
100%. I’ve got a great bunch of lads who keep
this show going time after time; without them,
there is no way I would be able to do both jobs.
My Crew Chief, Oliver ‘Hutch’ Hutchinson [also
FOH Engineer and Video Operator - yes, really!],
is my right hand man and we work in unison to
achieve the show the band want.”
The first few months of this touring cycle -
which began with warm up shows in Liverpool
and Oxford, stormed into Reading and Leeds
festivals, then went to North America, Europe
and the UK before finishing in Russia - had
several challenges for the crew, the first being a
lack of available pre-production time. Highcroft
continued: “We took the same show from
the US into Europe and when we hit the UK,
the production stepped up for a few shows
before moving to the B rig [no video screens or
touring PA] for the club shows that were added
at a later date. Going from the US to Europe
required some swift freighting from EFM and
then a re-build for the European and UK shows.
We did 15 shows back-to-back going from the B
to the A rig, and it definitely took its toll on the
crew but I’m proud to say that they came into
the larger shows without so much as a moment
of hesitation.”
Stage Manager, Joshua Perrée, was brought
onto the tour by Highcroft, having worked
the complete pre-production
a n d l i v e e v e n t s c e n t r e fo r t h e u k
WWW.PRODUCTIONPARK.CO.UK
PRODUCTION PROFILE: Bring Me The Horizon
Below: This is the first time the band has embraced a two-tier video backdrop within their set design.
for him with You Me At Six and Bullet For My
Valentine since 2013. On a typical day, Perrée is
tasked with making sure the production trucks
load into venues at 7.30am, arranges for the
catering team to set up so that breakfast can
be served on time, ensures the lighting crew
is on site to mark the rigging and truss points,
then oversees the hung video elements (on the
back truss), the flown PA and the special effects
requirements.
Said Perrée: “The staging elements have
been different throughout the whole cycle but
it’s been challenging for me in a good way.
I coordinate the local crew and ensure that
everyone on the touring crew has enough
labour to get their gear flown. The show has to
be ready for soundcheck every day and I do the
same routine with our support bands, PVRIS
and Neck Deep.
“I’ve worked with most of the vendors in
the past, which was a nice touch because it’s
been such a long and busy tour. It’s also been
good fun; putting this show on in 3,000-5,000
capacity venues and then bringing it into arena
size venues like Alexandra Palace are the kind of
things you have to expect on long tours like this,
but it’s thankfully worked out smoothly.”
THE MULTI-TASKING MAN
The aforementioned Hutch is a man of many
talents, and looking at his workstation, a man
who knows how to work many black boxes in
various sizes. An influential part of the technical
team, he joined the camp by chance, after a
one-off gig led to an unfaltering friendship.
“I filled in on monitors for what was meant
30
to be one gig in Sheffield, and I’ve been with
them ever since - which is over two years
now! They’re the kind of band people like to
stay with,” he explained, post soundcheck in
London.
The original idea when discussing video
(more on this later!) was centred around
projection. When those plans didn’t come
into fruition, the team opted for hi res video,
and Hutch’s inquisitive nature got the better
of him. “I was quite intrigued by the idea of it
to be honest, I just wanted to give it a go,” he
smiled. “I was operating both FOH and video
for their Reading and Leeds shows which was
broadcast for BBC TV, so I felt the pressure a bit
there!” Credit where credit is due, Highcroft and
his team managed to fit the entire production
onto both site’s main stages before headliners
Metallica consequently tore it down...
For his audio mixing duties Hutch is using an
Avid Profile console with two DVI / VGA displays
(one for the desk, one for his video monitor). He
is also utilising an Avid Stage 48 input rack on
stage, connected via 4xBNC multicore APC UPS.
Interestingly, he’s opted for Waves C4
plug-ins as a “gentle parametric”, instead of as a
traditional multi-band compressor.
He describes the Profile as “a worldwide
standard”, noting reliability and ease of use (he
can get all of his channels on one layer for quick
accessibility) as key features. On the style of mix
he generates, he commented: “I need to make
sure the fans are hearing what they’re expecting
to hear, especially with the new album because
it’s so melodic - they should get the full force
of all the hooks in all the right places. It’s not
meant to totally replicate the album sound
though, because it doesn’t sound compressed.
They’re a lot more dynamic live than you can
capture on record.”
Will we need earplugs? “Both the band and
their fans are very loud, no matter where we
play, so there is a lot of screaming. But I try to
stick to under 102dBA. That rarely happens
though - their fans are so noisy!” he laughed.
The microphone package comprises a
combination of Shure and Senhheiser models;
the bass guitar uses an Avalon DI and a Shure
SM57, guitars use Shure SM57’s, Sennhesier
e904’s and MD421’s. For vocals, a Shure Axient
wireless microphone is the tool of choice. Hutch
furthered: “We have both Shure KSM9 and Beta
58A capsules. The preference depends on how
Oli feels vocally in the specific venue.”
Hutch often works with the tour’s sound
supplier SSE (control package) and Wigwam
Acoustics, which has provided the PA. Pete
Russell, Project Manager at SSE has been
working with the crew for last three years.
Hutch explained why: “SSE is my preferred
company to use because they’re very good
at tech support and they have very well-
maintained equipment. They’ve also got some
great people working for them, and it’s been
brilliant having the PA with us for the larger
shows.”
TEASING THAT TROUSER WOBBLE
Wigwam Acoustics System Tech, Jack Murphy,
joined the tour for the five dates that required
a PA system - a d&b audiotechnik J-Series.
Speaking of the sound design at Alexandra

Below: Singer Oli Sykes uses Shure microphones - robust enough to take that throat rattle! Tour & Production Manager, Rob Highcroft means business...
Palace specifically, he stated: “I designed the
sound system for the venue and made the
necessary sub array calculations. I decided to
place infill at the front of the stage and then
have a mixed sub array of d&b J-SUBs and d&b
J-INFRAs. The reason for that is because it’s such
a sub-heavy show and we wanted to make sure
that we got a real impact across the front for
PRODUCTION PROFILE: Bring Me The Horizon
even coverage. And,” he laughed, “the INFRA is
there for a bit of trouser wobble!” [Editor’s note:
This also works spectacularly on shirt dresses].
“Alexandra Palace is a challenging venue to
work in, so we’ve flown some delay speakers
after the FOH position. The size of the venue
isn’t out of the throw of the J- Series but the
big arched drapes really help with the room
acoustics and the delays complement that.”
The main PA system comprises (per side) 10
boxes of J8’s and four J12’s. Subwoofers are
configured in a mixed sub array pattern of 16
J-SUBs and four J-INFRA. Infill consists of four
Y10Ps, and outfill is three ground stacked V8’s
per side. The delay hangs are five V8’s per side.
The system is driven by d&b D80 amplifiers and
31
PRODUCTION PROFILE: Bring Me The Horizon
Below: Crew Chief, FOH Engineer and Video Operator, Oliver ‘Hutch’ Hutchinson; Monitor Engineer, Jared Daly explained that with their current set up, the band are happy within one or two songs
during soundcheck; Lighting Designer, Ben Inskip; The ‘A’ team with Stage Manager, Josh Perrée.
controlled by R1 V2 software. All processing,
time alignment and system EQ is done within
the amplifiers via the R1.
The hung drapes made a difference to
Murphy’s ideal sound. “The drapes dampen
the reverberant field as it’s such a big room,”
he continued. “I was glad to see them in place
for our show as they make a big difference
- I’d always recommend having them in
Alexandra Palace. The acoustics is also why
we chose to use delays - to keep the system
angled downwards instead of entertaining
that reverberant field. This is in the interest of
keeping the best sonic quality throughout the
show for the audience.”
So, the next time you’re being flung around
a circle pit in a fancy buliding on top of a hill,
remember to look up!
A SHURE THING
Australia-based Monitor Engineer Jared Daly,
joined the band’s core crew in 2014 - again by
chance upon filling in at the monitor position.
Daly inherited the use of the band’s own
monitor system (bought in 2012) - an Allen
& Heath iLive digital mixing system, which
comprises an iDR-64 MixRack and iLive-R72
control surface. The iLive IDR is Dante-enabled
for both live show recording and virtual
soundcheck. Daly is also utilising an iLive
Monitor Control app via Apple iPad.
32
He introduced the band to a new way
of thinking when it comes to their personal
monitoring systems. Shure’s PSM1000 IEMs,
AXT600 spectrum manager and the AXT200
wireless vocal mic are now key features to their
on-stage comfort. With input from each of the
band Daly has upgraded their in-ear monitoring
and helped to incorporate the use Shure wireless
technology more extensively.
He said: “The band have always used in-ears;
they all have very specific mix requirements,
including click tracks and cues. The band and
crew have been using Shure PSM900 units for
a few years on stage; they owned those when
I joined. Oli [Sykes, singer] always used wedges
for monitoring on-stage, right through their
2014 dates, but as that tour was finishing, they
were thinking of upgrading, because they were
getting a few dropouts at gigs where the RF
spectrum was really busy - like at festivals. So
at Wembley in December 2014, they tried out a
rack of Shure PSM1000’s, and Oli changed over
to in-ear monitors. The guys all liked the 1000’s,
and we started using them in 2015. They’re
much more stable in a festival environment;
the two antennas on the beltpacks make all the
difference.”
In August, when the band played the
2015 Reading and Leeds festivals, the Axient
AXT600 spectrum manager was added, and Oli
began trialling an AXT200 handheld wireless
microphone with a Beta 58 head, which was
subsequently adopted on the US tour. “The
AXT600 has made my life so much easier,”
explained Daly. “It’s a big step up from what the
UHF-R system offered, and being able to sync
it with Wireless Workbench is a game-changer.
Now we have the Axient mic as well, I can check
audio levels throughout the show and back
off the vocal gain on the fly remotely via the
software if it’s too high. Oli constantly switches
between singing and screaming, so finding a
gain setting that works for both is a priority,
and the ability to change it during the show is
excellent!”
Given the crowded state of RF spectrums
today, Daly has found the spectrum manager
useful on the current tour. “At some of these
gigs, I’m scanning for sources of interference
throughout the show. When we arrived at one
festival in the States, I couldn’t find a workable
set of frequencies for us to use before our
changeover time at all. But when we set up
and were line checking, the frequency manager
automatically found a clear set of frequencies,
including multiple redundant back-up
frequencies, and assigned our gear to them.”
Daly has future plans to switch more of the
band’s live rig over to a wireless operation and
control it via Shure Wireless Workbench. “We’re
putting wireless routers into the back of the
guitar racks now, so that we can control and

Below: Electronics pro, Jordan Fish amidst an explosion of CO2.
deploy frequencies over the network, including
the UR4Ds. Basically, we’re linking everything
and because it’s all Shure and it’s compatible
with the spectrum manager, it all works.”
The band all use JH Audio molds: singer
Oli and guitarist Lee Malia use JH11’s while
keyboardist Jordan Fish, bassist Matt ‘Vegan’
Kean and drummer Matt Nicholls opt for JH16’s.
Daly gave an insight into what he is mixing for
the band. “Oli has the closest thing to a CD mix,
with very prominent vocals. The main goal with
his mix is for his vocal to sit just above the mix
at all times, whether he is screaming, singing or
whispering, it always needs to be the focus.
“Jordan has quite an electronic-based mix
but also is very particular with the sound of
Matt’s snare drum. Jordan has recently started
hearing a lot more guitars and has a talk-back
microphone that is sent directly to his backline
tech Jamie McKivitt and myself throughout the
duration of the show. This way he can let us
know of any problems he might be experiencing
such as sensitivity levels. Most of the time he
communicates signals to Jamie, but it’s also a
very important part of the set up for me because
he like to express what he needs directly.   skills, Bring Me The Horizon have recently
“Nicholls likes a big reverb sound that is very
compressed, and he’s also a fan of light gates
so that he can play his toms at any velocity and
knows not to worry about gates opening and
closing. Vegan likes to keep it simple: kick, snare,
hats, click track, minimal electronics and a full
- slightly compressed - bass mix. He prefers to
hear nearly 100% mic over DI so that he knows
exactly what his bass cab is outputting.  our show is becoming more dependant on solid
“Lee’s mix is very guitar orientated - every
note is like a rock mix, with plenty of overheads.
PRODUCTION PROFILE: Bring Me The Horizon
This is the closest to a wedge mix that we
do, with lots of drums and vocals. Lee prefers
to only listen to the SM57 on his in-ears as it
replicates the closest tone coming from the
cab.”
Daly’s monitoring duties are completed by
John Jones (JJ), the band’s session guitarist. He
added: “JJ has a general band mix, with some
selective panning to help him identify his playing
from Lee’s. JJ prefers to have himself slightly
panned to his left ear, this is because he likes
to have Lee’s guitar quite loud so that he can
essentially play off Lee during the show rather
than just concentrate on the click.”
On stage, touring monitors from SSE
comprise two d&b audiotechnik B2’s, two d&b
Q-Subs and two d&b Q1’s. Concluded Daly: “It’s
been such a busy tour but the crew are really
smooth at line checks by this point, they’ve
come right down to one or two songs, and
everyone is happy with what they’re hearing out
there.”
BACKLINE INVESTMENTS
Delivering the emphasis on their electronics
purchased two JoeCo BlackBox Players for use
as a ‘failover system’. Electronics Tech McKivitt
specified the systems. He said: “I found out
about the BlackBox Player by googling different
redundant playback solutions for the stage. I
discussed it with a few people who had seen
them being used and the failover feature is one
of the main reasons we chose to use JoeCo, as
playback in the way that it triggers our video
and lighting cues in sync. The JoeCo failover
systems ensure these will keep going in the
event of unit or drive failure, whereas there was
no plan B before.
The BlackBoxes are placed at stage
right, racked with the band’s samplers and
interfaces with Jordan Fish’s electronics world.
He continued: “I operate the players with a
footswitch to begin the set each night, just
before the band go on.
“We are using the units for click tracks,
player cues, basic backing track reinforcement
and also to send timecode to the lighting and
video consoles so that every aspect of the show
is in sync. For future tours we’re looking at using
the device to send sine waves to open gates at
FOH, as well as for further cues, such as special
effects. We had the option to use 16 channels
at most before but with JoeCo we now have the
option for 24. We’re trying to get as creative as
possible!”
The backline crew is completed by Joey
Black, Jon Dunford and Andy Clements.
SEAMLESS TRANSITIONS
Lighting Designer Ben Inskip has worked with
the band for the past five years. He’s since
become something of a permanent fixture as
production demands have increased. “They
were always a popular band with their diehard
fans, but as they’ve begun to appeal to more
and more people, their shows have obviously
gotten bigger and I’ve been required to support
them on tour a lot more. It’s been great for
me because I love touring with them!” he said.
“These are some of the biggest shows they’ve
ever done, production-wise, and it’s made me
up my game for sure.”
33
PRODUCTION PROFILE: Bring Me The Horizon
Below: Frontman Oli Skyes creates most of the visual content for the live shows; London’s Alexandra Palace played host to the biggest show of the tour, allowing SSE / Wigwam to implement the PA
requirements suited to the notoriously challenging venue; The band performed for 10,000 fans at their Alexandra Palace show.
Inskip planned for this tour with scalability
in mind, allowing for each venue to benefit
from the finished look. To pull this off, a pre-
rigged truss and a well thought out design
was needed. His enthusiasm is clear: “I’ve been
playing with their ideas and it’s developed into
something more substantial now. It used to be
a very strobe-heavy show that highlighted them
going mental on stage, but now I’m helping to
steer their ideas and adapt them into different
designs. There’s no real theme as such but
visually it’s definitely a show that’s grown into
something quite special.”
He explained that the band isn’t overly
hands-on in terms of show design because
they’re so trusting of the crew, but did note
that: “They’re getting more curious the video
side of the show and Oli creates a lot of the
visual content himself, but the development of
this tour has been a learning curve together.”
The video and the lighting cues run off the
same timecode, and Inskip spends a lot of time
programming with Hutch. “He and I will try
different things out, experiment with colours,
bring different lights in or fade lights out until
we’re happy with the final look.”
The is to deliver a big impact from the
lighting rig, making sure it stood its ground
when the video screen ran at its brightest.
34
“Lighting worked hand in hand with the video
content to immerse the audience,” he added.
When not touring, Inskip is an Account
Handler at Siyan, the tour’s lighting vendor.
He continued: “I use Siyan because the kit and
the people are fantastic. They have supported
my entire career. Being part of that family
environment and having that amount of support
on the road is second to none. Siyan’s Jez
Johnstone project managed this job and, as
always, went above and beyond to make it all
happen.”
From the Siyan warehouse, the LD specified
36 Robe Robin Pointes, 24 Robe Robin LEDWash
600’s, eight GLP X4 Bar 20’s, 30 Philips
Showline Nitro 510’s, seven James Thomas
Engineering 4-lite PAR 36’s and 22 James
Thomas Engineering 2-lite PAR 36’s.
For control, Inskip uses a Jands Vista S1
control surface, connected to a PC laptop
running Jands Vista v2 control software. This set
up enables him to access the full functionality
in an S1 that can usually be found in Jands’ full
size flagship console, the L5 - the desk he chose
to use for the band’s mammoth Reading and
Leeds festival shows. For ease of touring the S1
provides a powerful console in a small package
- a main pulling point when you’re effectively
doing a mixture of club and arena-size shows
that require a seamless transition. Inskip
furthered: “I love that my laptop is so portable.
It’s my flying system that I can take anywhere
without any notice. I’ve really enjoyed having
such a small set up and I’ve used it on a lot of
different types of shows with the band. My two
laptops and S1 Wings [duplicate Vista control
and backup systems] really holds its own.”
At Alexandra Palace, the lighting crew was
completed by Matt Morris, Dan Everitt, Jo Zilm
and Jim Potter.
Video Illusions were brought in to provide
the full spectrum of video across the tour’s
largest two shows in Cardiff and London. The
company had previously worked with the camp
for a DVD shoot at Wembley Arena in 2014.
“We know the crew and were so excited to
work with them again,” stated Video Illusions
Director, Nick Whiteoak. “We love Bring Me
The Horizon’s music so being able to provide
video for their biggest shows on this tour after
their success at Wembley was a very exciting
prospect for us. We really like the way the band
work and we’re big fans of the new album too.
Even as they toured America, we had constant
communication about bringing the video aspect
into the show.”
The company was given the brief to
implement a 56ft by 20ft LED screen - flown

Below: Backline Tech Jamie McKivitt; All Access Staging supplied stage risers for the double-impact video-heavy staging.
upstage - with two 56ft wide LED steps
downstage. In addition, two IMAG screens,
HD projectors, full HD PPU racks and camera
operators were provided. The engineering racks
comprised a Panasonic AVS - HS410 vision
mixer, a Marshall 19-inch multiview monitor,
Blackmagic Hyper Deck Pro 2 HD recorders, two
Barco Image PRO 2 scalers and LED processors,
four HXC 100 CCUs, a six-way RTS Comms
System, a Kramer HD/SDI matrix and a Kramer
DVI DA.
To control the video, Hutch is using a Mac
PRODUCTION PROFILE: Bring Me The Horizon
Pro 15-inch Retina with Resolume Arena 5.01
software (and a MacBook for backup). He
utilises a Novation Launchcontrol XL MIDI
controller in order to control various elements
of Arena such as the Master Intensity, Timecode
Offset, RGB Levels and Strobe Opacity and
Strobe Speed.
Both Mac machines run on a simultaneous
timecode feed into a HDMI switch. The
MacBook native HDMI outputs to a second
DVI monitor which is then attached to his
Avid Profile audio desk and he sends two lines
of 25FPS LTC timecode from the stage into a
Radial SW8 Auto switching DI. “They switch
automatically so if one dies, the feed via a single
output goes to my Blackmagic Ultrastudio 4K
interface,” Hutch explained.
Video Illusions also supplied two AV Stumpfl
16ft by 9ft rear projection screens and two
HD projectors. Two DVI fibre lines went to
the projectors from the PPU rack. Whiteoak
continued: “Our racks were linked into Hutch’s
Resolume media server so that he could use our
mix, and we then overlaid graphics on the side
35
PRODUCTION PROFILE: Bring Me The Horizon

Below: LD Ben Inskip thought carefully about his lighting design as the rest of the production stepped up; Laser diffraction effects were employed for the show.

screens. Overlaying the content as well as the
live footage really added depth to the visuals of
their show. It had a very cool impact.”
Video Illusions’ own VIL10mm 5,500 nitts
IP65 LED panels made up the screen, and,
according to Whiteoak, “really pack a punch,”
due to their brightness. The product is also
quick to assemble. “Considering we had to rig
270 panels and ground stack two large sections
of LED across the entire stage, we knew we
needed a product that could hold itself up
quickly during the set build. A few days before
the first gig, we were notified that we could
only fly the top five rows of screen and would
need to ground stack three rows, and drop the
top section in due to weight restrictions. The
rigging was challenging but it worked out really
well,” he added.
The graphics are timecoded, with the band’s
playback system and enable a full impact to hit
the audience. “At times there’s lots of full-frame
graphics and lyrics on screen which work on
time for the
JOECO TPicrowd to sing
magazine
along to, and1at09/12/2015
DEC15_Layout other
points, deliver more subtle colour graphics. The
whole show design is nothing short of amazing,
from pryo to lasers and the bold lighting effects,
it was their most accomplished production to
date.”
The video crew was completed by Camera
Director, Dave Irving, camera operators Ross
Jordan, Rupert ‘Pesh’ Dean, Jack Lilley, Sam
Wynne and Ross Gerry. Concluded Whiteoak:
“This was a great show to be a part of. The
band have got a great team around them and
we were honoured to be a part of it.”
Charlie Longcroft oversaw the show’s
house rigging duties at Alexandra Palace, and
explained why the change to the original video
design had to happen: “We were given the
rigging plot by Live Nation and then translated
it into the roof. The upstage video wall was too
heavy for the allowable winter snow loadings,
and to verify the actual loads, we used a Kinesys
Load Cell System at each motor point.
“The intended flown design had to be
recalculated
16:16 Pagedue1 to the winter loading
restrictions, which reduce the allowable loads in
order to accommodate the possibility of heavy
snowfall accumulating on the roof.”
THEORETICAL DIFFRACTION
To quite literally add a little bit of sparkle to
the show, BPM was asked by Perrée to supply
varying special effects. They included 14 CO2
jets placed up and downstage - which created
a 3D effect, four X-Treme shots with 20-metre
streamers and four confetti blowers. A focal
point for the special effects department was
a 30-second silver twinkling waterfall, created
by Ultratec. It fell between band members
on both sections of the stage during a guitar
solo.
Matthew Heap, Head SFX Technician from
BPM stated: “We find Ultratec is the best
product to use for the kind of effect they
wanted; its not smoky and is very vibrant. It
really created the desired look for that point in
the show.”
The special effects are operated by a wireless

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A4_EN.indd 1 16/12/15 10:23

PRODUCTION PROFILE: Bring Me The Horizon
Below: The brotherhood - Bring Me The Horizon continue to progress as a touring unit, leaving their suppliers keen to work with them again; Merch Manager, Tom Begley has been keeping the
band’s fans kitted out for seven years.
Galaxis Firing System, allowing cues to be driven
from anywhere in the venue. The band has used
special effects throughout the tour, mainly on a
dry hire basis, until the added wow factor was
needed for the larger UK shows. For this, Heap
and Laser Operator Nick Lloyd were on hand.
Heap continued: “We came in to enhance the
package they already had, and this includes
the laser design. We’ve got 12 4W Starbeams
and two 18W OPSL lasers which create a really
powerful effect. Theoretically, we’re putting
diffraction lasers into the crowd; we’re taking
the raw beam - which is projected into the back
of the venue - and placing a diffraction in front
of it. This then brakes down the layers into their
“Right now, the touring crew around Bring Me The Horizon are some
of the best in the industry. I can’t ask for any more than that, can I?”
- Rob Highcroft, Tour & Production Manager
primary colours at a lower power, making it
safe for the human eye.” Lasers are operated
by Pangolin software. Concluded Heap: “It’s
been an interesting job, and when you see
the finished production on this gig, it’s all very
worthwhile. It’s been a highlight of the year for
us.”
HOME COMFORTS, BRAND EXPOSURE AND
LONG-LASTING RELATIONSHIPS
Tour busses come from MM Band Services and
production logistics via Highcroft’s long-term
association with Transam. But we’re not finished
quite yet… Having spent time on the band’s
hugely successful world tour in 2011, rock ‘n’
roll catering titan Eat to the Beat was “thrilled”
to be asked back for the latest part of this road
journey. According to ETTB’s Global Operations
38
Director, Mary Shelley-Smith, there’s a key skill
that ETTB are renowned for: “Being able to
accommodate everyone’s dietary needs while
on tour is never a problem for our team. Paddy
Quilligan, Chloe Whitehead and Genti Hoxha
are travelling with the tour party and every day
they create a mixture of tasty vegan meals and
treats for the band and crew.
“Our team also look after the band’s dressing
room catering needs as well as any additional
requirements they may request in order to
feel fuelled enough to put on an outstanding
performance each night. We’d like to say a
huge thank you to the band for having us back -
they’re a pleasure to work with.”
That sentiment is echoed by Merch Manager,
Tom Begley - long-time friend of the band
and now TM for one of Highcroft’s earliest
clients, You Me At Six. “This tour was especially
interesting for me as I’d worked with and
become friends with almost all of this crew
already because many of them have worked
with Rob and I on You Me At Six tours in the
past. I’ve worked for Bring Me The Horizon
for the last seven years and it’s amazing how
they’ve grown. It’s been great to be a part of
their biggest headline tour to date.”
Travelling with the band throughout the UK
and Europe, Begley points out that Bring Me
The Horizon are pack leaders when it comes
to offering their fans somewhat of a more
personal touch. “The band has reinvented its
merchandise set-up in the last year and have
more creative control than most of the bands
I’ve worked with. This results in much more
stylish end products which has helped to
establish a brand rather than some throwaway
designs knocked up the week before a tour. It’s
only a matter of time before more bands copy
their set-up. They’re ahead of the game on this
thanks to Oli’s experience with his clothing
company, Drop Dead, which he established over
10 years ago. There’s no one better suited to
understand the importance of branding when it
comes to touring bands.”
As a show-stopping night closes in London
- 10,000 fans can’t be wrong - and a Drop
Dead afterparty ensues (fret not, inappropriate
high fives did not occur*), the last word goes to
Highcroft. There’s a clear sense of achievement
as this tour nears its end, due in part his choice
of coworkers: “I always try to use the same
people and the same companies. It’s a mixture
of them really wanting to work with my clients,
and me developing long-lasting relationships.
In this case, it’s great to know that as a team
we were able to produce the live shows that
the band wanted. All the hard work pays off
when that happens. Right now, the touring
crew around Bring Me The Horizon are some of
the best in the industry. I can’t ask for any more
than that, can I?”
TPi
*possible lie
Photos: Ashley Osborn
www.bmthofficial.com
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www.bandtours.co.uk
www.transamtrucking.com
http://allaccessinc.com
http://videoillusions.net
www.sseaudiogroup.com/wigwam
www.outbackrigging.com
http://bpm-sfx.com
www.eattothebeat.com
www.siyan.co.uk
www.mmbandservices.co.uk
http://efm.global
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 PRODUCTION PROFILE: The Prodigy

THE PRODIGY
ALTERNATIVE DANCE PIONEERS THE PRODIGY ARE
KNOWN THE WORLD OVER FOR THEIR BLISTERING
LIVE SHOWS. FOR THE BAND’S LATEST TOUR IN
SUPPORT OF THE DAY IS MY ENEMY, A SUITABLY
OUTRAGEOUS PRODUCTION WAS IN ORDER.
TPi’s STE DURHAM WAS IN ATTENDANCE AT
BIRMINGHAM’S BARCLYCARD ARENA TO MEET THE
MINDS BEHIND THE MADNESS.

40
 PRODUCTION PROFILE: The Prodigy

Below: The show design started with the floor package in February 2015, encorporating a concept centred around radio transmitter towers, with the striking truss roof structure acting as an
extension of the theme on a much larger scale.

Since their beginnings 25 years ago, The

Prodigy have rarely left the limelight;
courting controversy and critical acclaim in
almost equal measure, while performing the
seemingly impossible task of earning respect
from ravers and metalheads alike. Rather
than spawning imitators, the band has
carved out a niche for themselves - ensuring
popularity at venues and festivals across the
globe.
Whether in a sodden field or a cavernous
arena, one thing that a show from The Prodigy
can guarantee is intensity. In spades. This goes
for the crew as well as the band – you even
get the sense that the fixtures themselves are
working up a sweat. The production design is
full on for the majority of the show, and even
managed at times to leave TPi’s gig-hardened
jaws on the floor. This visual assault was
punctuated by hypnotic interludes, giving a
welcome opportunity for respite before the next
wave.
Lighting and Show Designer Andy Hurst
was asked to join the band’s touring crew in
2009 and, being a long-time fan of their music,
jumped at the chance to lend his creative flair to
the audio-visual maelstrom that is The Prodigy’s
live show. Hurst is also Creative Director of
lighting and rigging supplier HSL, which has
provided lights for The Prodigy for the past four
years, as well as carrying out all rigging duties.
For this tour in particular, Hurst plundered
HSL’s warehouse for a quite frankly gargantuan
lighting rig.
He explained: “The band get involved with
the initial artwork then leave me to develop the
show design. I then present visual renders for
approval.”
The show design started with the floor
package in February 2015, encorporating a
concept centred around radio transmitter
towers, with the striking truss roof structure
acting as an extension of the theme on a much
larger scale.
Hurst continued: “I wanted the flown
structure to be imposing even without the lights
on it. It was important that it was interesting
architecturally as well as providing dynamic
lighting angles to light the stage. As the band
are not fans of video screens on stage we
always start from the backdrop image and
work forward from there. It’s quite challenging
coming up with new set and lighting concepts
while keeping certain aspects on stage that the
band like to have around them, such as walls of
strobes.”
The Prodigy and strobe lights come in hand-
in-hand and, having tried several LED versions
throughout the year, Hurst has returned to
Martin Professional Atomic 3000 strobes for
this arena tour, 54 in all. He laughed: “The band
would literally spend the whole show looking
straight into one if they could!”
A total of 389 lighting fixtures were used in
Hurst’s design, spread over 24 lines of DMX.

41
PRODUCTION PROFILE: The Prodigy
Below: A total of 389 lighting fixtures were used in Hurst’s design, spread over 24 lines of DMX; He used old radio transmitter images as a conceptual launchpad; An early render of Hurst’s design.
Generic lighting for the audience was taken care
of by 16 4-cell molefays, 28 2-cell molefays and
20 Robe Patt 2013’s. This base was brought to
life by 204 moving heads, including 48 Robe
Pointes, 24 Robe Robin 100 LEDBeams, 12
Robe Robin CycFX 8’s, 54 Ayrton MagicBlades,
46 Philips Lighting Showline BEAM 300 FXs,
14 Martin Professional MAC Aura XBs and six
Martin MAC III’s.
Hurst also specified 64 Philips Lighting SL
eSTRIP 10’s and three PixelRANGE PixelLine
1044’s. He used his own High End Systems Hog
4 Full Boar and Road Hog (as backup) consoles
for control, running via Art-Net.
Hurst commented: “I’ve been using High End
Systems consoles for over 20 years now! It’s a
great console platform that works very well for
me and my work. I currently have four Full Boar
4’s, four Road Hog 4’s, and a Nano Hog 4.”
He has also recently invested in FOH racks for
his console collection, which comprise HES DMX
Processor 8000’s, HES Super Duper Widgets
and Luminex GigaCore 16Xt Ethernet switches,
giving him a sturdy 32 lines of Art-Net from
each source.
VIDEO NASTIES
Rather than joining many of their
42
contemporaries in embracing giant LED walls,
The Prodigy have kept video confined to an
IMAG screen on either wing of the stage with
the signals scrambled, overlayed and filtered
with effects to enhance the radio transmitter
theme. This allowed the screens to act more like
a scenic element than traditional IMAG, keeping
the band on side and the crew on their toes.
Hurst brought in Kent-based Video Illusions
to run the video production for The Prodigy’s
New Year’s Eve gig in 2013 at the O2 Arena
in London. Director of Video Illusions, Nick
Whiteoak explained: “It’s our first full tour with
the band following the New Year’s Eve gig and
two consecutive nights at Alexandra Palace. At
first, much like another of our clients, Arcadia,
The Prodigy said that they didn’t like video.
“They don’t see it as an integral part of
the show and if they do have it they want to
make sure it is different from what everybody
else is doing. They particularly don’t like any
clean shots. Andy’s brief was to make it look
like we’re hitting the camera with a hammer!
The strange thing was, and this is probably
a testament to how good our working
relationship is, that we knew exactly what he
meant! They were really pleased with how it
turned out.”
Whiteoak’s brother Dave, also a Director
at Video Illusions, converted the HD camera
signals using an ‘old school’ PAL visual effects
unit to create composite images and outlines of
the band’s vocalists, as well as adding effects.
Whiteoak continued: “Frontman Keith
Flint has those two spikes of hair and the MC,
Maxim, has huge dreadlocks so they create
distinct silhouettes on the screens. It looked
amazing. Andy has taken over the effects
operation and we send the signal through a
Catalyst media server, where he now has full
control of the effects on the screens via his
lighting desk.”
The effect looks something between a night
vision CCTV feed and a found-footage horror
film, causing shots of the band that would
look relatively benign with traditional IMAG to
take on a much more unsettling quality. Hurst
adds to the disorientation further by washing
the grainy black and white images with brash,
coloured filters.
Undertaking his first gig with The Prodigy,
Whiteoak was warned that the band didn’t
appreciate intrusive shots while they preformed
- frontman Keith Flint has even been known
to kick cameras that are too close for comfort.
Sure enough, on New Year’s Eve, Whiteoak
PRODUCTION PROFILE: The Prodigy

Below: The Prodigy whipped the Birmingham crowd into a frenzy; Stephen ‘Knuddy’ Knudsen, Stuart Jackson and Tanya Collier of newly-formed catering company, Little Pickers; The team from Video
Illusions; Longest-serving crewmember, Jon Burton, with his Midas XL3.

became backed against a subwoofer, with
nowhere to go, and had Flint bearing down on
him. “He got to me and just screamed in the
lens and started having fun with it. I think they
quite enjoy it now,” he laughed.
Whiteoak continued: “We could use lower
resolution screens because the content is so
crushed but we like the audience to be able to
see it fully.
“For me, mixing a show has always been a very hands-on experience,
and I enjoy getting to grips with the mix, which involves making lots
of changes. On digital, everything’s buried and I lose interest trying to
find it. I like to be tinkering all the way through every song.”
FOH Engineer, Jon Burton
We integrated HSL’s Martin LC40mm screen
with the show design at Alexandra Palace and
went with the retro low res feel, but this looks
better and works well with the show. Barry
Logan, The Prodigy’s videographer, was the
Camera Director for the tour, while Dave was
System and Effects Engineer and Glenn Gardner
served as FOH Camera Operator.”
The team’s HD PPU and engineering rack
consisted of a Panasonic AVS-HS410 vision
mixer, a Marshall 19-inch multiview monitor,
Blackmagic Hyper Deck Pro 2 HD recorders,
Barco Image PRO 2 scalers and LED processors,
four HXC 100 CCU’s and 6-Way RTS comms
systems, a Kramer HD/SDI matrix and a Kramer
DVI DA.
The company also provided two of its own
VIL10 LED screens, along with a full HD camera
package. to digital desks. Often with the two vocals I am
Hurst commented: “Video Illusions have
always done a great job with The Prodigy.
Since the New Year’s Eve Show we have been
applying these kinds of effects to the all The
Prodigy shows including festivals for the past
couple of years. Clean video is just not them.”
THIS KIND OF THUNDER
FOH Engineer Jon Burton has worked with band
for 11 years, after initially being drafted in to
mix for Keith Flint’s solo project, Clever Brains
Fryin’. Although it was some time after this that
he was asked to work with The Prodigy on a
permanent basis, Burton has since become the
longest-serving member of the band’s touring
crew.
While this has included arena tours, the bulk
of The Prodigy’s stage time during Burton’s
tenure has been on the international festival
circuit. This has allowed him to fully-explore
the array of kit available to the touring sound
engineer, naturally finding himself drawn to
analogue desks.
For this tour, Burton selected one of his
three Midas XL3 consoles - his favourite
analogue desk and one that he believes is a
cut above anything else. He explained: “I’ve
always preferred analogue, plus this is a bit of
a dub reggae-style gig so it doesn’t lend itself
spinning an echo on one that is different from
the other.
“For some reason most digital desks don’t
allow you to do two things at once very easily.
They haven’t grasped the concept that most
engineers have two hands that we like to mix

44
 PRODUCTION PROFILE: The Prodigy
Below: The ‘Crenelated Thumpunderous Array’ stretched from one side of the stage to the other,
creating a fearsome wall of bass frequency fortification.
with!”
Burton was actually an early
adopter of digital and has spent
his career at either monitors or
FOH, giving him an indisputable
familiarity with the range of desks
on the market. He said: “I think
that they don’t sound as good and,
side-by-side, an analogue desk will
win. A lot of average analogue
desks aren’t better than a good
digital desk, but a great analogue
desk is unsurpassable. I think the
XL3 is one of the finest desks ever
made - that’s why I bought one (or
three!).”
“I feel like digital takes some of
the fun out of it. For me, mixing
a show has always been a very
hands-on experience, and I enjoy
getting to grips with the mix,
which involves making lots of
changes. On digital, everything’s
buried and I lose interest trying to
find it. I like to be tinkering all the
way through every song,” Burton
added.
Burton maintained that his
current setup is no bigger or
heavier than many of the other
FOH arsenals that he has squashed
in alongside during The Prodigy’s
many festival slots. Moreover, he
was quick to point out how much
easier desks like his are to maintain
- a valuable quality on a high
46
intensity tour such as this.
“Most analogue desks are
modular so we can carry spares
and I can fix it. If a channel goes
wrong, then you replace it - it’s as
simple as that. A digital desk goes
down and you spend half your
day on the phone to customer
support,” he laughed.
As well as being discerning
when it comes to mixing desks,
Burton also wanted to use a
scientific approach when deciding
which PA configuration would
work best with the band’s
aggressive and bass-heavy mix.
Although The Prodigy were
accustomed to using EAW prior
to Burton’s arrival, he convinced
the band’s manager to use the
upcoming festival season as a trial
period to sample different line
arrays alongside the same backline
and desks.
The intention was to give every
brand and model a fair chance and
eventually decide which produced
the best sound overall. Burton
continued: “The hands-down
winner of this trial was L-Acoustics,
the V-DOSC in particular, and
Wigwam came in with the right
price and the right amount of gear.
As a result we’ve used them as
our supplier ever since. We used
J-Series on the last tour but I’ve
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PRODUCTION PROFILE: The Prodigy
Below: Hurst wanted the gigantic lighting rig to be just as imposing even when the majority of the fixtures weren’t active.
gone back to V-DOSC this time because it has a
big 15-inch speaker in it.”
Although Burton takes care when selecting
each aspect of the audio system, he conceded
that The Prodigy’s live show is “all about
the subs”. He explained: “We’re using d&b
audiotechnik B2 subs and d&b J-INFRA subs. We
have J-Series on the sides because it’s easier and
doesn’t have to throw as far. That is purely for
weight and convenience.”
The novelty of choice was not lost on
Burton, and he relished having the opportunity
to tailor the sound to give the best coverage for
his audience.
“I care as much about the kids at the back as
the ones at the front and I think this tour sounds
particularly great. I’ve worked with System Tech
Sid Rogerson of Wigwam for almost 10 years
and he knows what I’m after. It’s really easy
working with him.”
The freedom of this working relationship
has allowed Burton and Rogerson to spend
time conducting experiments with subwoofers,
culminating in the stage-spanning act of
rib-rattling supremacy that is the ‘Crenelated
Thumpunderous Array’. At the mention of his
creation, Burton was clearly still brimming with
pride.
He smiled: “It came out of years of work. We
are using a broadside array, which is basically
a long line of subs on the floor in front of the
stage. We use a J-INFRA sub upright every two
B2’s, making it look a bit like a castle wall -
which is where the crenelated bit of the name
comes from. I’m very proud of it and we’ve
48
been having great results with it on this tour. quieter in terms of dBA level.”
We can achieve really even bass coverage with In addition to serving as the bedrock of his
very little dropout on the floor. academic pursuits, Burton’s theory plays a huge
“My least concern is it sounding great at the part in The Prodigy’s show. He explained: “The
mixing desk. I want to make these songs sound Prodigy is all about the low end, the physical
great for as much of the audience as possible. experience. What we’re going for is powerful,
We’ve taken these peoples’ hard-earned money not loud. The J-INFRA subs don’t come on until
so we deserve to give them a good show. The around the fifth song, and when the bass comes
Prodigy always give 100% and we should too.” in, you tend to know about it! It’s fully free of
For system control, Burton selected the subtle nuance and is all bold brush strokes really.
“I want to make these songs sound great for as much as the audience
as possible. We’ve taken these peoples’ hard-earned money so we
deserve to give them a good show. The Prodigy always give 100% and
I think we should too.”
FOH Engineer, Jon Burton
Meyer Callisto 616 array processor, while It’s a dynamic show and, by the end, we want it
analogue to digital conversion returns were to feel like you’ve been on a journey.”
completed via Optocore. The band have been endorsed by Sennheiser
for a number of years and, partly due to the
BACK TO SCHOOL onstage antics of the band themselves, the
Burton is currently undertaking a Masters crew tend to prioritise reliability above all
degree in electronics at York University with else. Burton specified rolled steel “virtually
the weight of his thesis focussing on the effects indestructible” drum microphones from Hebden
of low frequencies on the listening experience, Sound and Radial DI boxes for the rest of the
sub-50Hz to be precise. He said: “I always want band’s instruments, as well as Sennheiser EW
to keep learning. My theory is that, by adding D1-935 vocal microphones and in-ear monitor
sub-bass, you can give the physical experience transmission systems. These were secured by a
of volume while running the system slightly mixture of Ultimate Ears UE 18 and ACS T1 in-

Below: HSL’s Andy Hurst in the zone during The Prodigy’s set on his High End Systems Hog 4 Full Boar.
ear moulds.
The band members, particularly vocalists
Keith Flint and Maxim, use the in-ears to
boost their parts over the top of what Burton
described as the “incredibly loud” on-stage
monitor volume. Sidefills are comprised of
four stacks of d&b C4’s, along with two B2
subwoofers at either side to deliver the bass
power that the band requires. There is also a
similar configuration used as a rear fill for band
mastermind Liam Howlett, making 16 stacks in
total on stage. Monitor Engineer Tom Maddocks
commented: “Liam’s monitor stack is the size of
most people’s PA systems! It’s all about getting
the adrenalin pumping during the performance
- he’s got to feel everything in the music that
he’s playing and wants it to sound as real as
possible.”
Maddocks has been part of the band’s audio
department for seven years working across a
variety of roles including FOH Engineer, PA Tech
and Monitor Engineer. He also favoured a Midas
desk for the tour, selecting the compact PRO2C.
Although he was pleased that the band
has been able to tour the festival circuit so
consistently, he agreed with Burton that the
arena gigging lifestyle is a great deal easier. “It’s
great because we travel as a touring production
and everything is designed and specified as
I’d expect it. At festivals you have to use pre-
installed kit that might not be as preferable
as your own first choice and space is often a
problem too. Birmingham was exactly as we
wanted it, with no compromise.”
As well as Burton, Rogerson and Maddocks,
The Prodigy’s audio crew was completed by
Monitor Tech Stev Stevart and System Tech Jack
Langfeld.
NEW KIDS ON THE BLOCK
It is perhaps deceiving to say that this tour is a
debut outing for catering company Little Pickers
- particularly given the amount of experience
there was in the kitchen at the Barclaycard
PRODUCTION PROFILE: The Prodigy
Arena in the shape of Stuart Jackson, Stephen
‘Knuddy’ Knudsen, and Tanya Collier.
Between them, the team was responsible for
feeding around 75 people with breakfast, lunch,
dinner and after show food for the duration
of the tour. Collier explained: “We have five
choices on every night, while lunch is usually
two meat options and a vegetarian option.
We’re all chefs so we like to sit down and come
up with exciting new menus.
“The menu completely depends on the
time of year. This tour is also a diverse mix of
nationalities and palettes ranging from real
‘foodies’ to those who prefer comfort dishes
like shepherd’s pie. We travel with stores and
buy stores as well, depending on the dishes that
night.”
Collier continued: “We are all different as
well - I’m into Asian cooking so I’d always opt
for that, while Knuddy is into more traditionally
English meals. It’s a good mix for the band and
crew over the seven weeks.”
Little Pickers has suppliers all around the
country, while stores such as condiments are
sourced from local supermarkets. Collier said:
“We know where we are going to be so we
arrange things in advance. It depends on the
suppliers but most catering companies use the
same ones because they are tried and tested.
It’s a lot to think about and long days but we
have a great time!”
Trucking and bussing was taken care of by
Fly By Nite and Phoenix Bussing, respectively.
TPi
Photos: Sarah Rushton-Read
www.theprodigy.co.uk
www.hslgroup.com
www.videoillusions.net
www.flybynite.co.uk
www.phoenix-bussing.co.uk
49
 1 night
27 awar ds
1200 guests

SPONSORS AND SUPPORTERS

 www.tpiawards.com
#TPiAwards #CreateLight

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The TPi Awards will be held on 22 February 2016 at Battersea
Evolution, London. Since 2002, the TPi Awards has been cele-
brating those who have made a positive impact in the world of
concert touring. 2016 will mark the 15th consecutive year that
the TPi brand has honoured the winners, as voted for by you.

To book tickets please visit: www.tpiawards.com

 PRODUCTION PROFILE: Johnny Hallyday

JOHNNY HALLYDAY LIVE IN PARIS

ALTHOUGH RELATIVELY UNKNOWN OUTSIDE HIS NATIVE FRANCE, JOHNNY HALLYDAY IS ONE OF THE
COUNTRY’S MOST FAMOUS AND WELL-LOVED ARTISTS. WITH THREE SOLD OUT SHOWS IN THE NATION’S
BIGGEST INDOOR ARENA, IT IS CLEAR THAT THE 72-YEAR-OLD SINGER IS AS POPULAR AS EVER. TPi’S STEW
HUME FLEW TO PARIS TO SEE FIRST-HAND THE MAN THAT HAS LIVED AND BREATHED THE MUSIC BUSINESS
FOR ALMOST HALF A CENTURY.

Just as with any profession, there is a time
when musicians are expected to retire
from the spotlight, or at the very least,
turn down the scale of their performances.
Johnny Hallyday did not get the memo, as
the 72-year-old treated his Parisian fans to
a no-holds-barred performance and truly
spectacular stage show. From the moment
that the ‘French Elvis’ appeared from
behind the back of a giant skull, his 2.5
hour performance was a non-stop barrage
of hits from his back catalogue, aided by a
large backing band of guitarists, drummers,
brass instruments, four backing singers and
even a harmonica player thrown in for good
measure.
A LA TÊTE DE LA PRODUCTION
If there was anyone to give us a crash course
in all things Johnny Hallyday, it is Production
Manger Roger Abriol, who has worked for the
singer in various capacities since 1974. “For 20
years I was the FOH Engineer for Johnny and
then I became his Production Manager. For a
couple of years I did both jobs but it got to a
stage where I had to make a choice between
the two because it was far too tiring. I decided
to take on the role of Production Manager as
Johnny’s shows were increasing in both quantity
and quality.” He stated that working for Hallyday
was an incredibly rewarding experience, as his
show represents the pinnacle of touring for
a French artist. Abriol stated: “He is kind of a
French legend and he really is the only artist
to do this kind of amazing and extravagant
production. I would say there are only three
artists in France that could put on a production
of this magnitude. What is more impressive with
this guy is that, after all these years, he is still
able to attract such a diverse audience and is still
able to give such a top notch performance.”
2015 was a busy year for Hallyday. Firstly,
the singer played several festival dates,
which he has not done for 20 years, and the
performances received great critical praise from
the national media. Following on from festival
season, the crew prepped for the Rester Vivant
(Staying Alive) tour, which involved a whole
new production and stage design. According
to Abriol, this meant bringing in a lot of fresh
faces to the production team in all the sectors,
as well new suppliers. The Production Manager
went on to state that although the scale of this
production represented a significant challenge,
the whole crew had done everything with a
smile on their faces. “It’s a small industry in
a small country and this tour is arguably the
biggest challenge for people in the sector. But
the whole crew in this tour have become a
very close family even though many of them
have not worked together before. It’s a great
atmosphere.”
MONTRER LA CONCEPTION
One of the many fresh faces on the Rester
Vivant tour was LD, Dimitri Vassiliu. This is the
first time that Vassiliu had worked with Johnny
Hallyday and had been asked on board to bring
a new creative perspective to the singer’s show.
Abriol stated that Vassiliu’s huge experience,
fertile imagination and talent for lateral thinking
(with a history of creating vibrant and powerful

52
 PRODUCTION PROFILE: Johnny Hallyday

Opposite: The 72-year-old rock ‘n’ roll legend played three nights at the AccorHotels Arena with his gigantic stage show. Below: During the show, the production team made use of many visual
elements including six flown LED screens and over 460 lighting fixtures; Marie Pierre Bussac, Production Assistant, stands with Production Manager Roger Abriol, who has worked for Hallyday in
various capacities for over 40 years.

‘big rock shows’) secured him the job. Speaking video and automation. throughout the initial design period,” explained
about his initial concept for the show, Vassiliu Once commissioned for the tour, Vassiliu set Vassilliu. Abriol added to this, stating that the
said: “I wanted to create a real vintage look. about forming a creative team that included close working relationship really benefitted the
Johnny is a timeless artist so the show had to Stage Designer Emma Favre and Artistic show, which despite containing several visual
enable the audience to lose themselves in all Coordinator Peggy Moulaire; both of which elements and over 460 fixtures is a cohesive
the various time periods.” He also commented got to add their own ideas to the multi-layered design with both lighting and video working
how he really appreciates the generous amount visual equation. “For this whole project, all the together seamlessly.
of creative freedom he had been given by the people working on the show including Peggy, Supplying lighting fixtures and desks for the
artist, which allowed him to experiment and Emma and my FOH team Philippe Marty and tour was European lighting supplier, Dushow.
produce some very dynamic results for lighting, Stephane Chiron have all worked very closely Singing its praises, Vassiliu commented how

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PRODUCTION PROFILE: Johnny Hallyday

Below: The team behind the lighting (from left to right) Philippe Marty, Stephane Chiron and Lighting and Show Designer Demitri Vassiliu; The LED screens were provided by Skynight and made
to the specific requirements by Artixum; The complete audio team, (left to right) PA Tech Steve Hernandez, Monitor Engineer Vincent Mantz, System Engineer Matthieu Marionneau, FOH Mike
Keating, Radio Tech Ronan Cassar, Monitor Assistant Daniel Matthews, Monitor Engineer Julien Vouillon and PA Tech Thomas Barbarat; Head of Automation, WIcreations’ Chris Das coordinated all
automation with the Kinesys K2 software running on a WI optimised control desk with the aid of his assistant Rick Peeters.

the company was incredible attuned to his
need as an LD. “They are always suggesting
new products to me to use on projects I am
working on. Dushow’s Technical Director,
Didier Dast, was dedicated to this tour and
was incredibly helpful during the design period
and during rehearsals for the tour.” For the live
show Vassiliu commissioned the help of fellow
Lighting Programmers Philippe Marty and
Stephane Chiron.
“I have worked with both of them for a very
long time,” stated Vassiliu. “During the show
Philippe controls the 192 Ayrton Magic Panels
on the back wall as well as Clay Paky Mythos’
and A.leda B-EYE K20’s. Stephane pilots all the
ground and band lighting as well as the Martin
Professional Atomic 3000’s.”
This left Vissiliu to control all the video
elements of the show on the various LED
panels. For control, Marty used an MA Lighting
grandMA2 whereas both Chiron and Vassiliu
used High End Systems Hog 4’s. Chiron said of
the show: “Dimitri has worked with both of us
for a very long time and it is very easy to work
with him. We don’t need to talk much during
the show, as we all know what each other
should be doing.”
One of the most impressive looks
throughout the show was produced by the
back wall of Ayrton Magic Panels. Five lighting
pods upstage accommodated a total of 192
Magic Panels and were automated by 10
motion controlled chain hoists that moved up
and down constantly. This created a variety of
looks throughout the show. The design for the
tour also featured 36 Robe BMFL Spot moving
lights on the rig but, for the AccorHotels Arena
performances, an additional 20 were added
to help light the audience. Some of the BMFLs
were positioned on the front and over-audience
trusses for crowd lights and to illuminate the
B-stage that was positioned in the centre of the
arena, which Johnny and the band made use of
throughout the show.
There was also a ring of BMFLs around
the deck of the main stage where they were
mounted on different level plinths and used
for aerial effects and skimming low across the
audience. This had the effect of incorporating
the audience during the show and was a
special request from Hallyday - who really
likes to see his audience when he performs.
Vassiliu had never used the BMFL Spots until
2015, having trialled them during their various
festival appearances. Also present were 24 Clay
Paky Sharpys and eight Sharpy Wash 330’s, 20
Martin Professional MAC Aura XBs. Vassiliu also
made use of 26 Showtec Sunstrip Active DMXs
and Robert Juliat Lancelot 4000w HTI follow
spots.
VIDÉO ET DE L’AUTOMATISATION
If 17 musicians were not enough moving parts
to worry about, the design team decided to add
several automated staging elements to the set.
This ranged from the giant skull that descended
from the rafters to reveal to the French singer
at the start of the night, to the six movable LED
screens that transformed the stage aesthetic
throughout the performance.
One of the first people that Vassiliu brought
on board to join his creative team was Artistic
Coordinator Peggy Moulaire from 5 Fevrier, who
created the visual elements that were played
on the LED screens on stage. Moulaire was also
on the road with the tour acting as the official
photographer. “I got a call from Roger back in
November last year to talk about the project,”
stated Moulaire.
“In the beginning I was left to come up with
the initial concept, then later on a company
called Cut Back, who specialise more on
developing 3D effects, were brought in to help
complete the project.”
She went on to explain her initial inspiration
for the designs: “I was told at the beginning of
the project that Johnny was a very instinctive
man who always spoke his mind. I tried to
mirror these aspects of his personality by using
a lot of natural elements such as wind, water
and fire. For example, in his song Requiem Pour

54
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PRODUCTION PROFILE: Johnny Hallyday
Un Fou he sings about love so I used the fire to
reflect the content of the track. Generally how I
work is to come up with a simple idea and then
adapt it into something bigger.”
Vassiliu commented: “I have been familiar
with Peggy’s work for a long time. She has the
ability to adapt her work into many styles and
is able to design images that work really well
with the content of the songs.” During the
show, content for the screens was controlled by
Vassiliu who made use of a Pro Systems Catalyst
media server running playback video to the six
moving screens and a digital proscenium arch
that surrounds the stage.
Engineering and automation specialist
WIcreations supplied multiple automation
elements and control solutions to the massive
show. Abriol has worked with WIcreations
many times. He said: “They are one of my
go-to companies for automation due to their
creative engineering and ‘out-of-the-box’
thinking.” Koen Peeters, Production Manager at
WIcreations commented: “Johnny is an amazing
performer and the Rester Vivant tour is a very
energetic rock ‘n’ roll show that embraces
dramatic scenography and cutting-edge
technology. This touring production perfectly
showcases what WIcreations is capable of!”
Out on the road representing WIcreations
was Chris Das who was coordinating and
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56
operating the automation using Kinesys K2
software running on a WI optimised control
desk with the aid of his WI Motion Assistant,
Rick Peeters. The giant scenic skull - which truly
became the icon of the tour - was flown in from
the roof and also tracks up and downstage
on 18 metres of WI Touring Track, which was
attached to four half-tonne, zero speed chain
hoists.
The six LED video screens - all of which were
different sizes - were flown and tracked using
another 108 metres of WI Touring Track to glide
them seamlessly into over 20 different looks and
positions, from a flat horizontal roof.
Throughout the show the screens were used
highly effectively as a big block light source
to a large dramatically-angled single surface
backdrop, which then fragments in different
directions to several different shapes. The
screens were made from a new lightweight
6mm proprietary LED product provided by the
tour’s video contractor Skynight. Abriol talked
about the production of the screens stating: “To
reach all the specific requirements in this project
we had to ask a company called Artixum to
customise a new system based on their Xenon
series. As well as providing a great quality
image, the screens are incredibly light.”
The three pairs of screens measured at 7.4
metres wide by 2.9 metres high, 7.9 metres
wide by 3.5 metres high and 8.4 metres wide
by four metres high, respectively. All are slightly
tapered at the offstage edges, maintaining
the finesse and clean lines of the stage design.
Each screen was moved by four one-tonne, zero
speed chain hoists (500kg double-reeved) from
which some of the positions entail the lower
screens moving right down onto the stage just
behind the backline. It’s just one of a number
of careful moves for which the accuracy and
stability of the K2 is needed along with the
ever-important WI operator skills.
The rest of the rigging for the tour was
supplied by Stacco, which also was the supplier
for the rolling stage. Head Rigger Georges Abele
explained that there was 50 tonnes hanging
from the roof and that it was all done with wide
bridals rather than straight hands. Abele added
that: “AudioRent and Clair Brothers helped
us enormously with the rigging of the sound
systems.”
DERRIÈRE LE SON
Ove the course of the evening, Hallyday drew
on songs from his vast back catalogue, and
this mixture of old and new did not stop at
the set list. The trend was also seen in audio
control, with a traditional analogue desk at FOH
controlling one of the newest PA systems on the
market.
• Pristine audio quality
• Easy single-ear or dual-ear mounting
• Minimal visual impact
• Adapts to all pro wireless systems
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 PRODUCTION PROFILE: Johnny Hallyday
For this run of dates, AudioRent
and Clair Global were brought on
as audio suppliers for the tour and
provided Abriol and his production
with the brand new Clair Cohesion
CO-12 line array system. Abriol had
worked with Clair since 1987 and
he did not hesitate to bring them
on board again. Taking the role of
FOH Engineer was Mike Keating,
a long-time Clair Global employee
known for his work with such
famed bands as The Police and
Sting. Keating had worked on the
Johnny Hallyday 66 tour in 2009
and in Keating’s own words, “it’s
an honour to be asked back”.
Sitting in catering away from
the pre-show preparation, Keating
spoke about how he was able to
secure this cutting-edge PA for
the tour. “When I first asked if
I could take out the PA system,
everyone basically said I didn’t
stand a chance as it was being
used for the U2 tour.” However
Keating was not about to take the
naysayers’ words to heart until he
had spoken to Troy Clair, President
and Chief Executive of Clair Global.
After one well thought-out email,
Keating got the go-ahead to use
the Cohesion CO-12. When asked
how it had been running for
this tour run Keating responded
immediately stating: “It’s a dream.
It’s the biggest sounding small PA
I have ever used. I come from the
time before line arrays where we
used to have a big black cloud of
speakers either side of the stage.
Then all of a sudden we have this
PA that is so small yet so accurate.”
Clair Global’s Dave Skaff,
who acted as System Designer
for the tour, talked about the
development of the Cohesion
CO-12: “The design brief while
developing the Cohesion CO-
12 was to make a product that
would fit productions, be simple
to rig, and behave responsively for
the audio mixers who would be
using it. What we have produced
are boxes that are lighter, more
efficient and take up less space, yet
are able to produce coverage for
large venues.
“From an audio mixer’s
perspective, we believe we have
produced a PA that will really
give out what you put into it.
A live system that feels like you
were driving a high performance
vehicle while mixing.” He went
on to state that this year, Clair
Global were in the beta stage of
releasing the Cohesion CO-12. He
continued: “The first big tour that
it went out on was U2, as well as
some smaller runs. By September
when Mike began to reach out,
we were in a pretty good state of
development. The timing of his
request was perfect as we wanted
the European market to see what
we had.”
For the main and side hangs
the audio department deployed
24 CO-12 at 80˚ and 32 CO-12 at
120˚ with 12 CP-218 subwoofers.
For floor subwoofers they used six
CP-218’s with eight CO8’s used for
flown centre fills and an additional
four CO-8’s used for floor fills.
As well a praising the new
line array system, Keating also
was highly complementary with
the French audio team. “I really
can’t say enough about the crew
that we have here. The audio and
backline teams are totally world
class. I have toured all over the
world and I can swear that these
guys are totally top notch.” One
of the crewmembers that worked
closely with Keating on the tour
was Matthieu Marionneau, System
Engineer. “I first met Mike when
we did the first run of rehearsals
in LA. I was a bit nervous due
to the language barrier but we
have worked really well together,”
stated Marionneau.
Just like Keating, Marionneau
had nothing but good words
to say about the new Cohesion
CO-12 system. “With 16 boxes
its only one-tonne. It is powerful
and coherent and when you walk
around the arena the sound is
very consistent. It is difficult to get
that result with PAs but this one is
doing the job.”
Despite this fresh-off-the-lot
PA system, Keating has faithfully
stuck to his analogue roots by
using two Yamaha PM 5000’s.
“I don’t speak digital. I guess it’s
just the generation I come from
but for me there is always some
personality missing from digital
consoles. I can work a digital
console but I find that when I do,
I spend my time digging through
layers rather than concentrating on
mixing the show.” Keating went on
to praise the work of Clair, which
over the years has been incredibly
understanding to his need to work
with analogue consoles. “Clair
keeps all this older gear in really
good shape and with stations
in Europe and America they are
57
PRODUCTION PROFILE: Johnny Hallyday
Below: Despite his age, Hallyday shows no signs in slowing down and, according to his production team, is always thinking ahead to his next performance. He is set the hit the road again early this
year.
usually able to accommodate our requests for
the Yamaha PM 5000. Plus the equipment from
Clair always works!”
Juxtaposed to FOH, monitor world is
completely digitised running two DiGiCo SD7’s.
Standing in the trenches on stage left, TPi spoke
to the two Monitor Engineers Julien Vouillon
and Vincent Mantz. Vouillon started off by
stating: “For this show there are 17 people on
stage. I control five mixes that include Hallyday
himself and the Musical Director Yarol Poupaud,
while Vincent controls the remaining 12 mixes
on stage.” Everyone on stage used IEM that
came courtesy of French supplier Ear Sonics,
although Mantz commented how Poupaud likes
to use both in-ears and a wedge mix. “Yarol
likes to use both and also requested two side
feeds. This is to keep some sound on stage to
maintain the vibes of the show throughout the
performance.”
The two monitors engineers’ experience
with DiGiCo SD7 varied slightly with Vouillon
being a long-term user of the desk whereas this
tour was Mantz’s first time on the console.
He said: “You can have a lot of channels
which is ideal for us. We are using an Optocore
Loop between the two desks and we have three
SD racks so we can change the inputs.”
Adding to this, Vouillion talked TPi through
the wireless system: “For all our wireless
equipment we employed the services of the
Belgium-based company RF Transmission. What
they have provided for this tour is two passive
cavity filters for transmission.” Altogether the
monitor engineers worked with a total of 36
58
frequencies, which they organised into groups Cetera. Formed in 1989, the company prides
of six. “We put each of these six frequencies itself on serving traditional gourmet French
into one TV channel which we plug into the cuisine. Offering a buffet that would not be
passive filters.” At this stage, all six groups of out of place a five star restaurant, Egg Cetera’s
frequencies are then combined into a signal services were certainly a hit with the crew.
antenna. “It’s amazing. All groups have no
internal modulation. These passive filters are LA LÉGENDE CONTINUE
insane. This is kind of ‘military’ equipment; the Regardless of a 2015 that would put performers
signal is so clean.” half his age to shame, Johnny Hallyday and
his crew are already prepared to hit the road
LOGISTIQUE ET DE LA RESTAURATION once again with rumours of another run of
There are very few productions within France festivals planned for summer 2016. Speaking
that can match the level of a Johnny Hallyday about the star’s mindset for future tours, Abriol
tour or require a crew of this size. “Altogether commented: “He doesn’t want it to end. He
we have a 51 members of crew, not including never talks about the last show, but he always
locally based riggers,” stated Abriol. “For talks about the next show.” Although ‘The King’
trucking we have used French company, Artys. may be gone, it seems that the ‘French Elvis’ is
Due to the size of the tour, which required 20 planning to entertain crowds from many more
trucks, Artys had to sub contract extra coaches years to come.
from Transam and Stacco. For busses the TPi
production employed the services of Blackline
Star. The company had been involved with the Photo: Peggy Moulaire
tour since July for the European festival season. www.johnnyhallyday.com
CEO of Blackline Star, Séverine Berthelet, talked http://audiorentclair.com
about the company’s experience with the tour: http://clairglobal.com
“Since October we’ve had four nightliners on www.earsonics.com/en
the tour, three for technical teams and one for www.rftransmission.be/en
to the production team, carrying more than 70 www.dushow.com
people. This tour has allowed us to expand our www.skynight.com
fleet to seven vehicles as we specifically develop www.artixium.com
a single deck nightliner, which was used for www.stacco.com
the production team. I am very thankful to the www.wicreations.com
production team for trusting us.” www.blacklinestar.com
Keeping the crew fed and hydrated www.artys.net
throughout the tour was French caterers Egg www.eggcetera.fr
 PRODUCTION PROFILE: Disclosure

MUCH MORE THAN WHITE NOISE

FRESH FROM THE RELEASE OF THEIR SECOND ALBUM CARACAL, ELECTRONIC DUO DISCLOSURE SOLD OUT
THREE NIGHTS AT LONDON’S ALEXANDRA PALACE ON THEIR RECENT UK TOUR. TPi DROPPED IN TO MEET
THE CREW BEHIND ONE OF THE UK’S MOST SUCCESSFUL DANCE ACTS.

Made up of brothers Guy and Howard
Lawrence, Disclosure have had an incredibly
successful year. From co-organising their UK
Festival Awards-winning Wild Life Festival
to a headline show in New York’s Madison
Square Garden, the UK house producers
have certainly made a name for themselves,
just two years after the release of debut
album, Settle. Off the back of their North
America tour the pair scheduled several
dates in the UK, which culminated in three
nights at Alexandra Palace. Although only
originally planning to play two nights,
demand forced the band to play a third
show. recovery and even managed to pop along to
Despite their outstanding success, it’s good
to see that the band have kept many of the
class of 2013 in the ranks of their production.
Starting the role-call is long-term Disclosure
crewmember, Toby Iddison. “I have been
working with the band since 2013 and I have
had the joy of getting to see the guys go from
strength to strength,” stated Iddison as he sat in
the homely production office. With a selection
of candles and a trusty coffee machine, it
offered a welcome reprieve from the December
temperatures. “It’s kind of strange, this band’s
success seems to have been a global event.
With most acts you usually find they build up
a reputation in various corners of the globe,
but with Disclosure the popularity has been an
upward trend everywhere.”
Although technically working under the
job title of Tour Manager, Iddison has had to
wear multiple hats through 2015. Production
Manager Phil Murphy was sadly taken ill on
the North American run and returned home.
Thankfully, Murphy is apparently making a
Disclosure’s Manchester show.
Murphy’s sudden absence from the tour
meant that Iddison had to play the role of
Production and Tour Manager for the rest of
the US leg, while temporary replacement for
Murphy, Chris Gadd, got to grips with the show.
Juggling multiple jobs is nothing new to
Iddison, who in the early days of his Disclosure
career used to be the Production Manager, Tour
Manager and the band’s PA all rolled into one!
Gadd was originally brought in to work as stage
manager, but soon got a call from Iddison to
stand in for production manager duties. “I had
never worked for Disclosure before but I had
worked on the same tour as Toby while I was
stage managing Example and Toby was working
for his support band,” stated Gadd.
“He’s come a long way in the last three years.
He’s a great guy to work with and this band are
lovely.” He went on to say that once Murphy is
back on his feet he plans to return to his stage
manager role.
Iddison spoke of his work ethic when it came
to running a production of this size; the real
secret is to cut down all hierarchy. “I don’t like to
think of this production as having a hierarchy; I
want people to feel like they can just walk into
the office regardless of their station. There is no
need to be scared of anybody and we’re all here
for each other and it’s our responsibility to get
this gig up and running.”
Tour Assistant Sooze Moyes backed this
statement: “The family vibe on this production

60

Opposite: Disclosure on their second night at Alexandra Palace. Below: The show design was created by Will Potts and video content was pre designed by artist Kate Moross; Tour Manager Toby
Iddison standing with Gregory Porter, one of the many featured vocalists on the current Caracal album; Production Manager Chris Gadd who was originally meant to fill in the role of stage
manager.
is what makes it great. Being away from home
for so long, it’s good to have the consistency of
people that you know and get along. This makes
it much more comfortable.”
STEPPING UP
Since Disclosure started their touring career,
Will Potts of Will Potts Lighting Production
Design has been at the helm of their lighting
and show design. Having been with the band
since their first show in March 2013 he has seen
them move up from 200 capacity venues to the
10,000 plus capacity venues such as Alexandra
Palace.
This particular production saw Potts
collaborating with James Scott and Louis Oliver
of Okulus as well as Kate Moross who was in
charge of producing video content for the show.
With several people involved in the creation of
this large stage show, Potts explained that there
was a need for a central point to channel all the
aspects of the design.
“You could say I took on the role of Creative
Director. It was really good to have James
and Louis on board. They were able to carry
on programming the show while I went to
meetings and also provided a great collaboration
point on the design. This show has the largest
amount of production I’ve ever controlled with
250 fixtures, automation and lots of video so
it was great to work with guys who both had
arena experience.
The Scottish LD did admit to being rather
excited about driving such an impressive rig.
“Back in the early days I used to busk the whole
show, triggering everything myself manually.
It was an intense task! But this year I decided
it was time to step it up a notch and produce
a really impressive visual show.” Just as for
Disclosure’s North American tour, lighting, video
and rigging was supplied by PRG XL Video.
One way in which Potts stepped up the
production involved updating his lighting desk
to an MA Lighting grandMA2. “I first used a
grandMA2 on Sam Smith’s show design. That
project really got me into the way of working
with the console. Making use of its timecode
functionality means we are not restricted when
developing looks for the show and I can take
time to actually view the looks, rather than
performing them out on the road where much
of the adaption and finesse is achieved. There
are rhythms in the cues that I wouldn’t be able
to trigger myself without timecode and it has
certainty made the show a lot more consistent
for the guys onstage.” The festival shows were
programmed by Scott and updated by Potts
for the adapted arena design which included
PRODUCTION PROFILE: Disclosure
additional tracks.
Potts went on to state that, in the world of
dance music there is a required standard that
leaves little room for error.
The design stage began before festival
season. Potts explained: “We did two festivals
in the summer, Park Life and Wild Life. We did
those two shows with the idea of premiering
the new look for the up and coming tour.”
Disclosure had taken a bit of time from the
stage while writing their new album. “As this
was the first time Disclosure had played live for
a good while, not to mention that Wild Life was
their own festival and being documented, there
was a real pressure to produce a tight show and
leave a great impression from the start of the
campaign. The rig we have now is almost the
same as the one we took out on the festival run.
The main difference is that we used to have a lot
of automation behind the screen, and we have
mobilised more of the pieces out front for the
structural looks.”
Automation for the show comprised of a riser
that lifts both the artists and backing singers
to the various movable trusses the staging was
continuingly being manipulated to produce new
looks. Cyber Hoist Programmer Robert Gardener
spoke about several of the moving parts within
the show. “When I came into the project Will
61
PRODUCTION PROFILE: Disclosure
Below: Cyber Hoist Programmer Robert Gardener; LD and Show Designer Will Potts with his MA Lighting grandMA2; Video Programmer, Icarus Wilson-Write sitting with his d3 Technologies media
server; Head Rigger Simon Lawrence.
already had all the designs and looks for each
aspect of the show on paper. My first job was to
simply provide everything that he needed.”
He continued: “With the hoist system we’ve
basically got five trusses that move with two
hoists for each of them.” On each of these five
trusses, Potts used four Clay Paky Mythos’ and
seven Philips Showline Nitro 510c’s. Talking
about the Mythos Potts said: “The fixture is
really one of the workhorses of the design. It’s
great for this show because it’s so malleable
with multiple functions, which is exactly what
you need for an electronic music show like this.”
As with most dance acts, strobes play an
important role within this show. With a total
of 53 Martin Profesional Atomic 3000’s being
deployed throughout the rig. Potts explained:
“There isn’t a strobe out there that does the
job of the Martin Atomic. There are lots of LED
alternatives that are technically more reliable
and energy efficient. We have made use of
the Philips Nitro on the automated trusses as a
bar of high power LED. However, for our main
strobe solution we wanted a fixture that was
truly electrifying. That made the Martin Atomic
a clear choice in our eyes.”
Potts also gave a special mention to the
32 PRG Best Boy HPs. “These lamps are great;
they have a really powerful and even spread of
output, and their focal length makes them great
for firing through the screen which is mostly
why we chose them.” he stated. Also seen on
the rig were 24 Clay Paky Sharpys and four
62
Sharpy Wash 330’s as well as 22 molefay 4-Cell
Linears, 22 Ayrton Magic Blade-R’s and four
Philips Colour Kinetic Colour Blasts.
NEW TOYS
As well a sizeable lighting rig, Disclosure’s
show contained several video elements. Video
Programmer, Icarus Wilson-Write talked us
through the system: “We’ve got six video
destinations; four on stage that are elements
and the two side screens. The video destinations
are sent through a d3 Technologies 4x4
Pro media server, which is sequenced and
controlled, at least in some part, from the
lighting desk. Video content is pre-layered and
pre-organised then we take in some camera
feeds and lay them over the top.”
Wilson-Write was brought on board to the
project once Potts and Moross had already
created the majority of the content for the
show. He reported: “I went and sat down with
Kate and Will to pull the show together, they
were great to work with as they are both very
creative and incredibly competent.”
While creating the design for this tour, Potts
explained how they had centred a lot of there
design around the brand new Vanish 25mm
which is produced by ROE Visuals and has a
transparency of 51%. “We tested the screen
while it was still in beta, and chose many other
products as result of this, however for the
festival run we weren’t able to get hold of the
product as expected. But we’ve got it now,
there’s no complaints; it’s doing a great job.”
Wilson-Write added that: “The Vanish has
been able to integrate perfectly with the lighting
show. It’s very lightweight, very fast to rig and
it seems to be very reliable too, not to mention
the fact that it displays a great image.” For
the show, PRG XL Video also supplied MC-18T
screens which were placed as a return below the
two musicians’ desks, two sets of Pixled F-25s
placed either side of the stage and a strip of
MC-7 as high resolution automated piece in the
flying ‘venetian’ screen.
STAR SERVICE
Keeping all these various visual elements up in
the air was the responsibility of Head Rigger
Simon Lawrence and once again PRG acted as
a suppler. “Due to the size of this show we had
to split the rigging into two sections,” stated
Lawrence. “The guys in charge of automation
are totally self-contained then on the lighting
side we have quite a big job hanging all these
fixtures on a daily basis.” Lawrence was only
brought onto the tour a month before the
Alexandra Palace show and was another
member of crew who had worked under Iddison
with singer / songwriter Ben Howard.
He admitted that this show had been a
fair challenge due to the fact that it was a
very heavy rig but that it is always part of
the challenge of the job. For staging, the
production team employed the services of Star
Events who provided 65ft by 12ft of VerTech
 Proud to Support
Disclosure
With Video & Lighting Technology For Their Arena Tour
Caracal

Featuring the first UK use of our eagerly awaited

Vanish 25 high transparency LED screen
www.prg.com/uk tel: 0845 470 6400/01442 849400
PRODUCTION PROFILE: Disclosure
Below: One of the goals for this tour was to ensure both members of Disclosure were at the forefront. One element of this was to build custom workbenches for both members - a task undertaken by
Brilliant Stages; Alex Turner from Gravity Systems was in charge of the band’s backline.
Ground support and integrated 60ft by 40ft
stage and tech risers for the Alexandra Palace
dates, overseen by Joe Sheals. Star Events had
been involved with the band before, during
the summer for Disclosure’s Wild Life festival.
Sheals commented: “We were brought in
specifically to provide a structural solution for
the Alexandra Palace dates. The production
exceeded the winter load capacity of the venue
roof, so we designed a stage to fit their rider
but with integrated a VerTech ground support
to accommodate around 8,000kg of video and
lighting.
“The ground support masts were assembled
and pre-rigged from the venue roof, with the
stage and truss grid built beneath. The masts
were then lowered through the truss, released
from the roof rigging and the whole structure
self-climbed as normal.”
BACKLINE BRILLIANCE
From the outset, Potts explained that one of the
goals was to make sure that the band remained
at the centre of the show. As well as having
the two performers appear on the two side
screens, the team also designed the two desks
which the brothers stood behind through out
the show and held the bands various supplies
64
of synthesisers, drum pads along with a whole
other array of other pieces of hardware. Brilliant
Stages was responsible for creating the circular
desks themselves before festival season got
underway. “We’ve always avoided having
both musicians sitting behind loads of gear or
hidden behind a big console,” explained Potts.
“The tables are specifically designed so you can
see both members from head to foot from all
audience angles breaking the barrier between
the crowd and the band.”
The two desks also boast an impressive
level of audio engineering thanks to the work
of Alex Turner from Gravity who has created
a whole new ‘Music Performance System’ for
the band. Since 2014 Disclosure had wanted
to go back to the drawing board and design
the ultimate playback and performance system
for their particular style of electronic music. “I
was brought on in April to design and build
their new rig with a brief to make it all digital.”
Turner, along with his business partner Matt
Cox, has worked with distinguished dance
pioneers The Chemical Brothers, Hot Chip
and The Prodigy - so in many ways they’re an
obvious choice for Disclosure to help reinvent
their live set up.
“It’s all singing all dancing, with sweet
sound down to the digital signals [soft synths
and samples] staying digital all the way to
the PA’s speaker cables. The look is achieved
by using data satellite boxes,” explained
Turner. “The sleekness of the desks follow
through into the backline, and anything that
can be off stage, is. To enable this, a multitude
of line drivers are used. Well out of sight and
niched into each of the risers, are the backline
satellite boxes, one allowing both of the
musicians his own connectivity to the off stage
racks. These low profile hubs allow for 100%
reliable two-way long distance transmission of
all the USB and MIDI control data, audio and HD
video that is needed to keep the show going.”
Both of the brothers have a rack, each of
which is equipped with an RME MADIface XT.
All of the group’s instruments and drum pads
are plugged into a Midas XL48 microphone pre
unit, which is capable of splitting the signal into
two identical ADAT outputs. These outputs are
then fed into two Ferrofish A16 Mk-IIs, which
in turn feed into the A and B computers via the
RME MADIface XT’s. “This playback rig is very
cutting edge,” Turner stated. “It’s got every
functionality that any tech would dream of in
a playback and performance system. The band
wanted everything at their fingertips as if they
 PRODUCTION PROFILE: Disclosure

Below: FOH Engineer Rob Webster-Reed and Monitor Engineer Barrie Pitt both favour DiGiCo SD7 consoles, which were supplied by Nitelites.

had computers on stage, but the crew combination of d&b audiotechnik

wanted 100% flexibility and reliability, wedges and Sennheiser 2000 Series
and with RME that’s exactly what we in-ear monitors.
got!” Pitt commented: “I’ve used the
DiGiCo SD7 for the last five years. I
TWO SUPPLIERS ARE BETTER THAN was doing Ben Howard before this and
ONE his channel care is astronomical - with
Newcastle-based rental company a six-piece band there’s a lot of stuff
Nitelites provided monitors and control going on. I just got into the SD7 out
for the tour, as well as a number of of necessity because I had to access
crew to keep on top of Alexandra lots and lots of outputs and it handles
Palace’s specific audio demands. FOH this tremendously well. DiGiCo have
Engineer Rob Webster-Reed, who been great in terms of support, the
is heading towards his third year desktop is amazing and it can virtually
with Disclosure, selected a DiGiCo do anything I want it to do. I’ve got it
SD7, using a UAD Apollo 16 Mkii working extremely hard on this show!”
plug-in system, which he claimed is Eighth Day Sound Systems UK
“fantastic”. provided a d&b audiotechnik J-Series
He said: “I’ve not used this desk PA system, including a flown rack of
before but it’s got a full-on vintage J-Series and J-SUBs, with B2’s and
sound coming out. I’ve been a DiGiCo INFRA subwoofers on the ground.
user on and off for a couple of years, As Nitelites’ gear was out on the
having used an SD10 for the first road in Australia, some of the monitor
album tour and then swapping from package was sub-hired from Skan PA.
a Midas Pro system to DiGiCo for this MD of Nitelites, Jamie Moore,
album.” explained: “It’s been great working
Monitor Engineer Barrie Pitt with Skan, it’s a great company to be
also ran a DiGiCo SD7 with Apollo involved with. We act as Disclosure’s
16 running plugins, and used a international control provider and

Studio grade remote controlled mic pres

Studio Quality, Live. in a modular stage rack, featuring Dante,

MADI, AES3 and Pro Tools|HD connectivity.

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65
PRODUCTION PROFILE: Disclosure
Below: With such a successful 2015 behind them, Disclosure are kicking off the new year with an Australian tour.
Eighth Day Sound were brought in for racks
and stacks worldwide. It’s quite a unique setup
when there’s two companies doing it but I have
a great relationship with Toby, the TM, and Phil
Murphy, who is the regular PM.”
The venue itself provided something of a
challenge for the audio team, who used the
d&b array to combat the acoustic ‘slap back’
inherent in larger venues - a problem especially
prevalent when dealing with dance music.
Webster-Reed said: “Alexandra Palace is
challenging - it’s a big room. You have to fly the
PA quite wide here, which a lot of engineers
don’t like, but it’s the same for everybody
so you just have to get on with it. Using the
J-Series enables us to give a lot of hi-fi clarity
and create a sort of big club sound in an even
bigger space, which is a challenge in itself
really.”
Although Disclosure is only made up of two
permanent members, they made use of 10
channels of live percussion, four channels of
electric pads, two vocal channels, bass, guitar
and various electronic synth instruments.
The team also had a number of guest
vocalists to consider during the evening, and
this required a combination of preparation
66
and adaptability. Webster-Reed explained: “In
pre-production we set up the guest channels in
an attempt to anticipate who’ll come. I’ve got
eight channels dedicated to potential vocalists
for whoever turns up on the day. It’s then just a
question of getting them sound checked before
they’re live and making sure it sits nice within
the mix. A live vocalist is always a challenge
but I think I’m getting there. The UAD Apollo
software is helping to no end, it’s quite clever.”
THE HITS KEEP ON COMING
For logistics, the tour required six trucks, all
of which were supplied by Fly By Nite. Gadd
commented how he rarely uses any other
trucking companies: “Their support is fantastic,
not to mention the drivers, who are all really
good. I wouldn’t use anyone else. It’s the
same with most things. Once you get on with
someone and you like the way they work,
why change?” For coaches on the UK tour,
Disclosure used a mixture of Beat The Street
and Phoenix Bussing - though the three nights
at Alexandra Palace saw the entire production
opting to use hotels instead. The Disclosure
camp was kept well-nourished by Popcorn
catering.
It does seem that Disclosure have tapped on
a formula that attracts a broad range of people.
Gadd explained: “To me, the music certainly
falls into the house genre but at the same time
it’s not your ‘normal’ house music. They keep
their sets varied and there is not one boring
song! There aren’t many bands out there like
this.”
With such positive feedback from their 2015
dates, Disclosure are planning to continue their
quest for global domination - starting in 2016
with an Australian tour. This in particular is a
prospect that the crew seemed excited about -
any excuse to avoid the wonderful UK winter!
TPi
Photos: Sarah Rushton-Read
www.disclosureofficial.com
www.xlvideo.com/uk
www.lightingproductiondesign.com
www.nitelites.co.uk, www.skanpa.co.uk
www.8thdaysound.com, www.flybynite.co.uk
www.phoenix-bussing.co.uk
www.popcorncatering.com
www.brilliantstages.com
www.stareventsltd.com
www.beatthestreet.net
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 IN PROFILE: John Henry’s

JOHN HENRY’S
SINCE THE COMPANY’S INCEPTION, JOHN HENRY’S HAS BECOME ONE OF THE LEADING MULTI-DISCIPLINARY
SERVICES IN THE UK’S LIVE MUSIC INDUSTRY. AS THE BACKLINE SPECIALIST PREPARES TO CELEBRATE ITS
40TH YEAR IN BUSINESS, TPi’S STEW HUME VISITS THE HISTORICAL BREWERY ROAD SITE TO GAIN INSIGHT
INTO THIS FAMILY-OWNED, EXPERTLY RUN BUSINESS.

Starting out in 1976, producing a unique
portable staging system, John Henry was
unknowingly building the foundations for
what would become one of the longest-
standing brands in the pro audio and
staging industry. An impressive 40 years
down the line, the company today offers
a range of services from rehearsal studios,
backline rental, audio hire, and staging
solutions, not to mention its Pro Shop
where it supplies everything from MI to
guitar stings and drumheads for some of
the world’s most diverse and respected
musicians.
Although expanding its services at a steady
rate, founder and owner John has remained
very involved throughout all stages, and is still
present on site, daily, alongside his two sons,
Johnny and Jamie. Plus their extended company
family of 50 employees and 30 freelancers.
The John Henry’s facility itself is one of
historical notoriety, having been used as a
munitions factory during the war. Trading
ammunition for amplifiers, the 60,000 sq
ft facility has since become a mecca for
touring musicians. You only have to go to the
company’s cafeteria to get an idea of just some
of the famous faces that have come through
the doors; the company has more signed
photographs on the walls than a Hard Rock
Cafe.
MAKING HISTORY
John moved to London in 1972 from Stranraer,
a small town in South West Scotland.
Developing a passion for music in his teenage
years, he eventually packed his bags and moved
to the capital to put his aspirations of becoming
a professional bass player into motion. While
pursuing his musical career, he began to work
for TASCO (the largest PA company in its day).
Sat in his office talking about his early years
in London, he said: “While I was there, they
had a carpenter who made wooden flats and
stage sets but, of course, they would always
fall apart! I offered my services to create a new
collapsible metal frame with plywood tops.”
What John had essentially created was a
unique portable stage riser, the likes of which
the industry had never seen before. He pointed
out this moment as the beginning of John
Henry’s as we know today. During his time
at the company, he achieved far more than
an interest in portable staging: “TASCO were
lacking a mains distributions system. I was
once employed as an electrician and was able
to build a proper travelling mains system,” said
John. “I spent around two years making mains
systems and in between was hiring out the
staging that I had created.”
From this point on, with the help of his
wife Pauline, John continued to expand what
the business could offer. “It was a case of

68

Opposite: John Henry (centre) standing with his two sons Jamie and Johnny. Below: John Henry’s extensive backline store supplies everything from drum-heads to amps with a whole team of in-
house technicians who keep all the equipment in great condition; Across the road from the main building are two other wear houses which house the staging departments and the audio department.
supply and demand. Bands were coming in to
use my warehouse as a rehearsal space and
they needed somewhere to store their gear.
So I’d build several storage cages next to the
studio for bands to have a safe place for their
equipment. I also had a fair bit of backline of
my own from being in various bands. One thing
led to another and I started hiring out my own
gear as well as buying more. Before I knew it,
I was hiring out staging, offering storage and
supplying backline at the same time! I also
realised that musicians often needed something
to be repaired, so I started an electronic
workshop and employed an electronics
engineer to take care of any broken parts.”
In 1999, the JHL Group of Companies, which
included John Henry Enterprises, JHE Audio and
JHE Overseas, consolidated into the central John
Henry’s that we know today.
KEY SERVICES
The large staff base includes Johnny Henry
as manager of the company and his younger
brother, Jamie Henry, running the Pro Shop
and endorsement programmes. The company’s
four key services can be split into four primary
sections: audio solutions, staging, backline
rental and rehearsal space.
Situated across the road from the main
building are two warehouses that house the
audio and staging departments. The company’s
audio services provide a range of live sound
reinforcement, speaker systems, monitor
systems and wireless IEMs and mics along
with several audio consoles from Avid, Midas,
Soundcraft, Yamaha and DiGiCo in the fleet.
Recently, the company has supplied audio
solutions for notable events such as BBC2’s
late night flagship music programme, Later...
with Jools Holland, for which it provides
audio production planning, the floor package,
sound engineers, monitor systems, staging
elements, backline equipment and mains
distro since the first show aired in 1992. It also
offers its services to one-off events such as the
premiere of Ed Sheeran’s recent film Jumpers
for Goalposts at the Odeon Leicester Square.
John Henry’s supplied audio equipment for the
live performances both inside and outside of the
cinema for client Warner Music.
The John Henry’s staging department
offers a range of products including staging
rental, rolling risers, skid decks, steps and
rails, stage dressing, flooring and even mobile
dance mirrors! It also offers set design and
staging technicians. This summer, the staging
department was heavily involved with the UK
festival season, offering staging solutions to
IN PROFILE: John Henry’s
huge titles such as Latitude Festival, V Festival,
Reading & Leeds and Proms in the Park.
One thing that is hard to ignore while
walking through John Henry’s is the amount
of products under its roof. This is most
prevalent in the backline warehouse. When
TPi walked through row upon row of backline,
Johnny noted: “We had some visitors over
from the US and when they walked into our
warehouse they made a point that our facility
is much bigger than anything they have seen
in North America.” Stocking everything from
amplification, guitars and basses, drums,
cymbals, percussion, keyboards, grand pianos,
music stands, organs, synths and transformers.
Recently the company has provided complete
backline packages - including equipment,
technicians and tour accessories - for The BRIT
Awards, C2C Festival, Capital Summertime
Ball, V Festival, Reading and Leeds Festival (all
stages), and the London Jazz Festival. It also
provided touring backline packages for Grace
Jones, Lynyrd Skynyrd, Sir Tom Jones and
Marilyn Manson.
Finally, the purpose-built studios, which
come set-up with digital consoles, monitor
systems and basic microphone packages, are
available for rehearsal space hire. Dedicated and
qualified audio professionals are on hand too.
69
IN PROFILE: John Henry’s
Below: The audio warehouse and its huge stock on equipment all in the signature John Henry’s flight cases; One of several studios at John Henry’s, Studio 5, which has seen some of the biggest acts
in the world come over to jam.
Also onsite are secure storage cages as well
as a showroom. Residents include the Fender,
Blackstar Amplification and ACS. In the last few
months there has been visits from The Rolling
Stones, One Direction, Pixie Lott and Jamie
Woon. Business is certainly booming.
Johnny explained how the diversity of artists
creates a really good atmosphere. “Last summer
we had The Rolling Stones in one room and One
Direction in the other. It was a real mixture of
genres but the vibe was fantastic. When all the
studios are fully booked and all the walls are
shaking, it’s an awesome place to work!”
The studios are also often used by pro audio
companies to showcase products. Recently, HD
Pro Audio and SoundCraft set up shop for the
day at John Henry’s, because as expected, every
key decision-maker in the industry knows where
the door is.
LONDON’S STILL CALLING
Despite expanding into different areas
throughout the years, one thing that has
always been a consistent aspect of the business
is the company’s continued presence in
central London. In fact, the first John Henry’s
warehouse is actually only one street away from
70
its current location on Brewery Road. Situated
one stop away from Kings Cross train station,
the company is more passionate than ever to
maintain its London postcode. John continued:
“It’s the heart of the business really. We are in a
very handy position and have the luxury of a fair
amount of space. A lot of our work is London-
based and as a result, the business seems to be
growing on a daily basis. We still have plenty of
room for expansion however, and this year we
have taken on another two top rental reps.”
John explained what he looks for when
taking on new employee. “Everyone has
been hand-picked by me. I am always looking
for good, solid people who display good
knowledge that can then be backed up by a
good attitude. In terms of staff retention, it is
very rare that people want to leave.”
A major part of our success is thanks to
the dedication and long term loyalty of our
management team and staff.
Johnny expanded: “I’ve learnt alot by
working my way up through the ranks; it’s all
about sharing knowledge. Our management
team need a special mention here as they have
helped put us where we are today - Robert
Harding, Pepin Clout, Tark Bates, Andrea
Westwood, Gary Felton, Patrick Louis and all
our staff. No matter what gets thrown at us we
all pull together and work as a team.”
Johnny went on to state that a genuine
passion for the job was always a big factor
when taking new people on. “It’s a really nice
place to work. It’s one big family and I think it’s
rare for a company to have as little hierarchy
as we do. You hear of companies where there
is not a lot of interaction between the top and
bottom tier, but my father’s door is always
open.”
This year marks the 40th anniversary for the
company. A notable anniversary by any means,
but for John Henry’s it doesn’t signify any kind
of leisurely retirement, as John concluded:
“Because we are so diverse in the services that
we provide, the shopping list is endless. As
technologies continue to develop, so do we.
Whether it’s the latest keyboard model or the
most sought-after digital mixing desk, we want
to be at the cutting edge of it all.”
TPi
Photos: Johnny Henry
www.johnhenrys.com
 MEDIA AND ENTERTAINMENT
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1901 BVE advert 210x297.indd 1 04/11/2015 15:40

 A DAY IN THE LIFE OF...Gabriel
GabrielCoutu-Dumont
Coutu-Dumont
GABRIEL COUTU-DUMONT,
SILENT PARTNERS
Three time zones in 36 hours. Taylor Swift, Britney
Spears, 100 dancers, too many extras, some multi-
media Shakespeare. A broken iPhone, a black eye,
a lost credit card and a lucky game of roulette. It’s
just one of those days for Silent Partners’ Gabriel...
I’m in Vegas now. I rushed here with Isabelle our
producer and Jocelyn, a great Video FX guy we work
with. After putting to bed the new video scenography
for Taylor Swift’s 1989 tour, the show left, it’s on the
road and we’re almost done! I’m in the City of Sin for
48 hours to drop off reformatted HD files for Taylor’s
Vegas gig, and to add bits to Britney’s permanent
show Piece Of Me. She’s got a new single with Iggy
Azalea coming out and Baz Halpin, the Creative
Director, hired us to take care of the visuals. So, after
two weeks of designing the content, our little skeleton
crew, who dragged a full suite of computers with
them, will also need to capture a live performance
from Britney with Iggy and add it into a teleportation
VFX gag for a reveal during the Billboard Awards.
Never a dull moment! The show airs in a few hours
here in Vegas, so we’re cramming in our hotel room. I.
Must. Smoke.
I check in with my partners Janicke and David
back in Montreal who are frantically prepping for the
biggest production we’ve ever been in involved in;
we’re producing content for the closing ceremonies of
the European Games in Baku, Azerbaijan. We’re used
to rock ‘n’ roll touring shows that look and feel big, but
in the end, involve only a handful of talented people.
In Baku, it’s gargantuan. The production office alone
houses more than 120 people from several countries.
Led by Five Currents, we’re working on stadium
content that will involve a gazillion extras performing a
mass choreography using 504 handheld LED screens.
It’s ridiculous. We’re pretty sure it’s going to be fine,
but there is some mild preparation panic going down
72
at HQ. Claudine, our designer, is already in Baku setting
up shop and getting ready for Janicke and David to
arrive. Everyone is racing towards deadline to finish the
video and load the equipment. It’s like a Woody Allen
heist-gone-wrong movie. The servers don’t fit in the
truck, everything is chaotic. Janicke wipes-out on the
ramp while also managing the amazing feat of taking
her own picture with her phone while it’s happening.
(Action shots are on our Tumblr!)
Somehow, it’s now 10am in Vegas. We’ve got
the goods and we hand it over to Mike Polito from
Chainsaw who is cutting the final edit for the Billboard
Awards. Jocelyn heads for the airport while I’m back
in the casino. It’s the only place I can smoke in the
hotel and it’s been a long, sleepless night. Baz calls me
to say we need to go back and change a few things
with the FX. To the Batmobile! Isabelle begins phoning
Jocelyn to catch him before he boards his plane. I just
happen to have 500 dollars in chips. I turn around and
lay it all on black while continuing to take notes from
Baz. We probably have another three to four hours
to re-render the piece before the Billboard Awards
goes to air. Black wins. Still preoccupied with Baz, I
put my winnings on black again. Blammo. I win again!
Eventually, Isabelle reaches Jocelyn and we’re back in
the hotel room, set up and whirring away. The piece
comes out fantastic. The show airs and we all jump on
a plane back to Montreal. But not before I realise I’ve
left my credit card at L’atelier de Joël Robuchon where
we celebrated our work and my luck, and not before I
slam my face into a television monitor in the lobby as I
say goodbye to people on the way out.
As soon as we land in Montreal, me and my black
eye are off to a workshop for video scenography for a
five-hour Shakespeare theatre piece. I’ve got 10 days
to come up with the base of the show, then it’s off to
Baku...
Gabriel Coutu-Dumont
Untitled-2 1 23/11/2015 14:16
 IN THE SPOTLIGHT: Focusrite

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Combining headphone and line outputs for
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a pair of balanced line outputs, with male XLR
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The headphone output delivers significant
audio output power, sufficient to drive even
high-impedance headphones at substantial levels.
The RedNet AM2, fitted with non-slip feet, is
designed to either sit securely on a flat surface or
be mounted on top of a microphone stand.
RedNet AM2 includes a two-channel Dante
receiver based around the latest Ultimo hardware
- allowing up to 24 bit, 96kHz operation - and
features a road-worthy aluminium extrusion-based
enclosure. Two large volume control knobs are
provided for headphone and line output levels; the
latter also features a mute button with associated
LED. Other indicators show the presence of power,
network and signal. touring engineers and system techs, as well as
The unit may be powered either via PoE (Power
over Ethernet) or via the 12V DC input barrel
connector (universal power supply included). Dual
etherCON connectors are included to connect the
network and to daisy chain to additional network
devices.
Will Evans, Artist, Media and Brand Partnerships
at Focusrite, explained the thought process behind
the new development in the RedNet range: “Since
we launched RedNet we have had a very common
request: lower cost, lower channel count output
devices. The specific use-case cited in almost any
workflow is foldback: adding headphones or a
basic speaker output to a system. Up until recently
it’s been cost-prohibitive to develop low-channel
count devices. Thanks to Audinate’s Ultimo chip,
we’re able to make a cost-effective device which
delivers for the customer,” he explained.
The company has also taken direction from
various end users in order to further cater for
their clientele: “We have worked with both

74
 IN THE SPOTLIGHT: Focusrite

Opposite: The RedNet AM2 is planned for shipping in spring 2016.

Below: FOH Engineer for Usher, Horace Ward, took an early version of RedNet out on the The UR Experience tour in the spring of 2015; Artist, Media and Brand Partnerships at Focusrite, Will Evans.

rental companies, broadcasters and larger
education facilities. Our customers are the most
important part of our product development.
Their feedback is pivotal in shaping the design of
products.”
RedNet AM2 is planned for shipping in spring
2016, and Evans said that he is sure the product
support will encourage new users alongside its
key features: “We provide telephone support in
the UK and US, as well as email-based support,
all free of charge. It allows us to provide greater
coverage to our customers so, for example, even
after working hours in the UK, our US support
team can still help customers well into the
night.”
The first set of products in the series were
extremely popular with engineers working on
high-end arena tours, including FOH Engineer
for Usher, Horace Ward, who took an early
version of RedNet out on the The UR Experience
tour in the spring of 2015.
Following a demo earlier that year, Ward
commented: “I was immediately impressed and
decided on the spot to incorporate the RedNet
system for Usher.”
TPi
http://uk.focusrite.com

Blackout
FAVOURITE RIGGING COMPANY
+44 (0)20 8687 8400

sales@blackout.co.uk

www.blackout.co.uk

75
 MOVERS & SHAKERS
MOVERS & SHAKERS
Nexo has appointed Merging Select to
represent its products in Portugal. Based in the
capital city of Lisbon, Merging Select handles a
portfolio of blue-chip brands, including Yamaha
Commercial Audio, Steinberg and Nuage, which
are sister companies to Nexo, as well as AuviTran
and Powersoft.
Founded in 2007, Merging Select serves
both the rental market in Portugal as well as the
installation business. Projects include auditoria,
theatres, multi-purpose and conference spaces,
hotels and retail operations.
Merging Select aims to offer the Portuguese
professional audio market something over and
above ‘black boxes’, complementing technical
solutions with a high degree of support, education
and training. According to Commercial Director
João Velhinho, there are two priorities. “Firstly,
helping our market to spend its money coherently
in these difficult economic times. We facilitate
this by building long-standing relationships with
key brands, which gives us close links with their
technical teams to the advantage of our clients,”
he said.
“The second priority is to leverage the
possibilities between product ranges and
companies; a great example of this is the synergy
between Nexo and Yamaha, which can make life
much easier for the customer in both the rental
and the installation sector.”
A.C. Entertainment Technologies (AC-ET)
has appointed Karen Fairlie to the newly-created
role of Business Development Manager for
Scotland.
Fairlie brings a wealth of local market
knowledge and experience to the position, having
forged strong relationships with customers and
suppliers in Scotland over the past 20 years
while working in sales management and various
support roles.
She will be responsible for helping to raise
customer awareness of AC-ET’s extensive ‘one-
stop-shop’ of over 200 technology brands, with
76
particular emphasis on promoting and increasing
the market share of the company’s many UK-
exclusive marques.
Shure Europe and US-based RF Venue have
entered into an exclusive distribution agreement
across the EMEA region. Shure Europe’s regional
distribution offices in Germany, the UK and
BeNeLux - alongside Shure Europe’s third party
distribution partners across EMEA - will now
distribute and sell antenna and signal distribution
products made by RF Venue that are designed to
improve the signal quality and performance of
professional wireless audio systems.
Boston, Massachusetts-based RF Venue
manufactures proprietary antenna products,
RF distribution systems, RF to optical signal
conversion modules, and spectrum analysis
hardware and software for the professional
wireless audio market.
“We’re pleased to partner with the world’s
leading wireless audio brand to bring RF Venue
products to EMEA regions,” commented RF
Venue CEO Chris Regan.
“Shure Europe’s marketing, distribution, and
fulfilment capabilities will provide current and
new RF Venue customers in those regions the
highest level of sales and support. RF Venue
products are highly complementary to Shure
wireless systems, so this agreement is a great fit
for both organisations.”
NTP Technology has appointed HHB
Communications as its exclusive distributor
for the UK and Ireland. The agreement includes
the NTP Technology AX32 2U modular audio
converter system, the DX32 1U compact digital
audio bridge, the Penta 720 modular 2U audio
router and the compact 1U Penta 721 audio I/O
interface.
“NTP has an excellent reputation for the
quality and reliability of its products,” commented
Steve Angel, HHB’s Group Sales Director. “It has
also proved a highly accomplished innovator. NTP
routers are widely used throughout the broadcast
Sponsored by
www.interfacio.com • +44 208 986 5002
media business.
“NTP’s DAD product range has arguably the
most prestigious client base of any company in
the professional audio sector, embracing many
of the world’s foremost mastering studios, post-
production facilities, orchestras, music venues
and record labels.”
NTP Technology Sales Director Mikael
Vest added: “HHB is one of the UK’s longest
established and most successful pro-audio
equipment specialists. Established nearly 40 years
ago, the company is highly respected both in the
broadcast and wider professional audio sector.
“HHB employs a very talented and experienced
team of people who clearly understand and enjoy
what they do. Working with HHB on the recent
Goldcrest Post Production project was a real
pleasure and we are confident that it will lead to
new business throughout the UK market.”
Sennheiser has entered into a partnership
agreement with Jordan-based Advanced
Solutions. As an authorised partner, the reseller
and systems integrator now offers products
from Sennheiser’s System Solutions range,
which includes conference and translation, tour
guide, and a wide range of wired and wireless
microphone systems.
According to Sami Janho, General Manager at
Advanced Solutions, the timing is now right for
the aggressive expansion of Sennheiser’s market
share in Jordan. He said: “A reasonable portion of
the market now demands reputable and reliable
products accompanied by a high level of service.”
Advanced Solutions has stated that it intends
to focus on the business communications,
hospitality, education, government, houses of
worship, visitor audio solutions, and guided
tours market segments. It has also predicted that
Sennheiser’s TeamConnect, Mobile Connect, LSP
500 PRO, and ADN and ADN-W audio conference
systems will be particularly well-received
in Jordan. Advanced Solutions has already
taken delivery of a range of demo equipment,
www.interfacio.com • +44 208 986 5002 MOVERS & SHAKERS

Opposite: AC-ET has appointed Karen Fairlie to the newly-created role of Business Development Manager for Scotland; Mig Cardamone, Director of Sales and Marketing at Sennheiser
Middle East; Chauvet Professional has appointed Jaime Friedstadt as Director of Business Development and Marketing for Hispanic Markets; Elation Professional has hired lighting industry
veteran Gary Fallon.

allowing customers in the country to receive
live demonstrations to aid their purchasing and
implementation decisions.
Sennheiser selected Advanced Solutions
as a partner on the merit of its strong
technical competencies in solution selling and
implementation as well as its deep penetration
into the local market. The systems integrator has
been provided with a number of online training
courses and a comprehensive two-day, hands-
on course in Dubai to ensure that it is capable
of professionally managing the entire project
lifecycle. Advanced Solutions will also serve other
systems integrators and solutions providers in
Jordan.
“Advanced Solutions was a natural fit for
Sennheiser. The company has demonstrated
its commitment to quality and home-grown
expertise, and has strong competence in the fields
of system integration and AV conferencing,” said
Mig Cardamone, Director of Sales and Marketing
at Sennheiser Middle East.
Elation Professional has hired lighting
industry veteran Gary Fallon. He assumes the role
of Regional Sales Manager for Elation’s Eastern
US region and will be based out of the company’s
South Florida office and warehouse facility.
Fallon is a familiar face to many in the industry,
having worked in product and sales management
at Martin Professional for 12 years before leaving
to establish his own business. “Gary comes to
us with vast industry knowledge and experience
and knows the value of hard work, discipline
and supporting customers above and beyond,”
stated Elation Sales Director Eric Loader.
“Gary will work to support and continue our
growth plans on the East Coast, managing our
sales reps and supporting our dealers in the
region. I am confident he will fit well into our
company culture and growth plans.”
Fallon commented: “I am excited to be part
of a team made up of great people that are well
respected in the industry for their knowledge
and integrity.”
Chauvet Professional has appointed Jaime
Friedstadt as Director of Business Development
and Marketing for Hispanic Markets for the
company’s Chauvet Professional and Iluminarc
divisions.
Prior to joining Chauvet, Friedstadt
was International Sales Manager of Philips
Entertainment. Having been with that company
since 2001, he managed Latin American sales
of all Philips Entertainment brands, including
Vari-Lite, Strand Lighting, Selecon and Showline.
Earlier in his career, he was Latin American Sales
Manager of Hubbell Lighting.
“The experience Jaime brings to this position
dovetails very nicely with our vision of Chauvet’s
future in the Latin American market,” said
Albert Chauvet, President and CEO of Chauvet.
“Jaime has a keen understanding of the lighting
industry and of Latin American business culture.
His experience in sales, marketing and business
development will help us build on the momentum
we’ve already established in this region for
Chauvet and our dealer network.”
Friedstadt will report to Stephane Gressier,
International Sales Manager of Chauvet. “We’re
excited to work with Jaime to strengthen and
build client relationships throughout the Hispanic
market,” he said.
Friedstadt added: “I’ve been deeply involved
in the entertainment and architectural lighting
business throughout Latin America for a number
of years. Joining an innovative and rapidly
growing company like Chauvet is an excellent
opportunity. I am excited to get started!”
TPi
www.tpimagazine.com/jobs/

VER are looking to recruit an LED Technician to work in our Warehouse in

Whetstone North London.
The ideal candidate will have a ‘can do’ and flexible attitude to work.

The position will suit someone hardworking looking to expand their knowledge
of LED Equipment.
The standard hours for this role are Monday to Friday 9:00am – 06:00pm.

Job Requirements

• Starter or basic knowledge and experience in the Rental and Staging

industry.
• Interest in video equipment and LED technology.
• A willingness to work weekends and evening when required to assist the
company during busy periods.
• Basic knowledge of mechanics (assembly and disassembly)
• Computer literate
• Eye for detail
• Previous experience of working in a busy deadline driven industry
• Work methodically with outlined procedures and guidelines
• The ability to work well individually and as part of a team.
• A Full UK Driving License

Key Duties to include

• Testing and Preparation of LED Equipment before dispatch to site.

• Monitoring Stock Levels, liaising with the company’s sales team about
potential equipment shortages.
• Overseeing spares/part levels and liaising with the LED manager and
European team when reordering.
• Technical support to clients and technicians encountering technical
problems.
• Logging and reporting damaged / faulty equipment in the stock control
system.
• Ensuring the department is kept safe / clean and tidy.

Closing date: 15th January

Contact details: Fiona Thompson, Units 3-4, Downland Close,Whetstone,
London,N20 9LB - UK
T: +44( 0) 20 8445 0267 | F: +44 (0) 20 8492 1932
Out of hours: +44 7889 630 871 | fthompson@ver.com | www.verrents.com

77
 THE BIGGER PICTURE

THE BIGGER PICTURE

EVENT SAFETY SUMMIT 2015
Life Safety First - it’s a simple yet effective tag line, adopted by the Event Safety Alliance a few
short years ago. Of course, with ideas, hopes, dreams and tag lines comes the need for effective
action to develop tools to not only spread the message but make differences and affect change.
The development of the US version of the Event Safety Guide has been documented here, as has the
planned development of an international network of organisations devoted to live event safety but,
despite online forums breeding active discussion and books of guidance being developed, there’s
still nothing better than a bunch of people getting together under one roof to exchange views and
advance the cause.
The second Event Safety Summit came to
pass, once again under the rather substantial
roof at Rock Lititz Studio, Pennsylvania,
with local neighbours Tait Towers and
Clair Global amongst the many supporting
sponsors. However, it’s not just about having
a handy venue with power, sound and light
to hand. All of the companies are passionate
about safety. It’s a natural partnership and
Rock Lititz Studio is just the first phase of a
project that will see many more companies
collaborating on site. Like Shaun Clair, Vice
President of Sales for Clair Global, who said:
“We at Clair Global are looking forward to
welcoming The 2015 ESA Safety Summit
to Rock Lititz. Safety is first and foremost
in our training programme as well as our
daily operations. To set aside several days to recognition for both schemes. Kudos to David learn. And learn they did, through three days of
examine best practices and evaluate resources Calderone, the architect of the first draft, who engaging content delivered by knowledgeable
is an investment in our employees, clients and spent the best part of the day on his feet inviting presenters sharing real world experiences.
every single audience member at any event those gathered to scrutinise and criticise. The Opening the show, ESA President, founder and
around the world.” Commenting before the result of his work is a course that will be piloted Chairman, Jim Digby, summed up his motivation
summit, Adam Davis, Chief Creative Officer at early in 2016 and another huge step on the road in the simplest of terms; to be a part of the
Tait Towers said: “Tait Towers is known for to creating a positive safety culture for all. In chain that saves lives rather than be part of the
our technology, innovation, and our ability addition, time was taken to consider the ESA’s chain that ends a life. In the spirit of walking the
to not only create, design and build such rapid progress and map out its future, specifically walk, Jim had already put crew under his charge
complex stages and architecture, but also with a view to creating a sharing network. through CPR and first aid training, delivering skills
to provide our services and products within The greatest journey, in both miles travelled to that one of his crew used outside the workplace
a safe environment. We are excited to be a the event and attempts to improve safety at to save a life. Talking the talk, walking the walk
part of this collaboration and look forward to live events was made by Oluwakemi Tenidade and getting results.
hosting the ESA summit.” Eboda, who travelled from Nigeria to learn how ESA Vice President Steve Adelman, a lawyer
But before the main event, a select, influential everyone could help her seemingly one person specialising in venue safety and security,
bunch were invited to review the first draft of the crusade. Needless to say she left enthused and delivered a first session that avoided the legal
next phase in the Event Safety Alliance’s growth supported by everyone; we hope to hear from fire and brimstone, instead sharing a cornucopia
– Event Safety Access Training (ESAT), a training Tenidade in future PSA articles. of thankfulness, a dozen (baker’s) elements
course and exam not dissimilar to the Safety The summit proper saw a growth in audience that lawyers are grateful for, from planning
Passport that PSA helped to develop over here in to around 180 people from all manner of event to documentation to recording, the law and
the UK and it is hoped that there will be mutual production backgrounds, ready to share and weather forecasting, Adelman gave good

78
 www.psa.org.uk

Opposite: The conference gathers for a group shot at the second ever Event Safety Summit at Rock Lititz Studio, Pennsylvania.

reason for those gathered to listen and learn
from subsequent presentations. From Adelman’s
‘what to do’ came sessions that showed how to
do it.
Real world experience was shared in
presentations from Eric Stuart, a former
Metropolitan Police officer and crowd safety
specialist, giving insight into the maths and
psychology behind crowd movements from
events such at the two million capacity Notting
Hill Carnival and London’s New Year’s Eve
fireworks and Scott Dennison, sharing insights
into the risk management toolkit deployed at
Rock in Rio’s Las Vegas show.
With all the talk of risk and its management,
insurance was sure to be on the agenda. Not
only did the audience receive the gathered
wisdom from representatives of Allianz, Take 1
Insurance and Alive Risk, they got a true taste
of collaboration as their financial support has
helped secure the existence of the ESA and its
annual gathering.
Behind the drive for safer events for
both workers and customers are standards.
Representatives from ESTA delivered an insight
into how US standards are developed for products
and processes as well as a run down on updates
relating to our sector. One of the elements that
Adelman spoke of in his first presentation, these
standards have already benefitted productions
and helped promote backstage safety.
They say the British talk about the weather
a lot but, when it comes to extremes, the US
has seen its fair share. Theories were shared
by Kevin Kloesel of the Oklahoma University
Office of Emergency Preparedness followed
by a review of severe weather plans in action
from representatives of the Firefly Music Festival
in Dover, Delaware, which implemented its
evacuation plan in 2015 – the best possible
opportunity to share mistakes made and lessons
learned, the very essence of the event Safety
Summit.
Britain provided further academic input from
Emma Parkinson from Bucks New University,
who entertained and informed the audience
with a presentation on the essential part played
in near miss and accident reporting as well as a
look into safety cultures, leaving people with a
fairly clear picture of where the sector stands as
a whole and where improvements can be made.
More product-specific sessions covered the
use of pyrotechnics and lasers; the former being
particularly poignant in the light of the tragic
fire in Bucharest recently. The use of unmanned
aerial vehicles (UAVs) and their role in live
events brought proceedings up to the minute,
discussing how they can be both a benefit and
a burden for our sector. Lower down the tech
spectrum but high on the list of products where
knowledge gaps may still exist was with tents.
Tim Roberts of The Event Safety Shop and
Richard Nix of entertainment Structures Group
discussed technicalities, roles and responsibilities
in the use of these omnipresent features on the
special event landscape.
In conclusion, this was for the usual bunch
of safety professionals nodding in violent
agreement. The Event Safety Summit provided
an ideal forum for the exchange of information,
the formulation of new ideas and the growth of
a positive safety culture that is being woven into
the fabric of the global live events scene.
The last word of thanks to the venue sponsors
goes to the man whose vision really did make it
all possible, President and Chairman of the Board
of The Event Safety Alliance, Jim Digby: “The ESA
is beyond grateful to have the trusted Clair Global
team and Tait Towers as our host sponsors. To
have the support of such great industry leaders
and innovators showcases that what we strive
for is much needed, as well as appreciated by our
community.”
See you next year.
TPi
www.psa.org.uk
www.eventsafetyalliance.org

Assistant Technical Manager

(Negotiable circa £30k + benefits)
The successful candidate will report to the Technical manager and is responsible
for delivering safely and efficiently the technical services, facilities and equipment
to clients within the SECC Exhibition Halls and SSE Hydro. This will include
supervising a small team of operatives to deliver safely and efficiently the clients
requirements in relation to all of the technical requirements of Events in the SECC
Exhibitions Halls and Hydro. In addition the successful candidate will be able to
provide technical support and advice on relevant matters to Event Managers and
others within the Operations Department and the Company.
6. To schedule permanent and temporary staff as required to meet the needs
of events;
7. To supervise relevant contractors and contractors’ staff when on site;
8. To ensure equipment is installed, maintained and operated safely;
9. To ensure the efficient, safe and secure storage of all relevant equipment;
10. To hire in equipment as required to satisfy event requirements;

Please note that technical services include, but are not limited to: stages, seating, 11. To ensure that all responsibilities are carried out in compliance with current
furniture, drapes, access and mechanical handling equipment and storage. legislation, licenses, standards and codes of practice;

12. To liaise with the Licensing authority and other external agencies as
Candidates must be able to demonstrate previous managerial experience in staff, necessary;
projects and budget management.
A practical and technical understanding of the requirements in relation to setting 13. To ensure that Risk Assessments are undertaken for all relevant technical
up Events is desirable. operations;

A willingness to learn new skills is essential to this role.
Responsibilities
1. To manage the efficient and safe supply and operation of technical
services, facilities and equipment to the highest possible standards;
2. To plan and develop effective technical solutions and layouts for individual
client requirements;
3. To attend client meetings as required to provide specialist advice and
support as necessary;
4. To ensure appropriate technical liaison with clients during the planning,
build up, open and breakdown periods of events;
14. To undertake technical functions within other areas of the SECC when
required by business demands;
To undertake other relevant duties as may be required by the Company from
time to time.
The nature of work demands excellent fitness and health levels, strong team
working skills and able to work within flexible working patterns.
To apply for this position please send your CV along with a covering letter
stating why you are a suitable candidate for the role and current salary details
to Human Resources, SECC, Glasgow G3 8YW by post or email to personnel@
secc.co.uk.
Only those applicants who can demonstrate the experience and qualifications
we have outlined above will be considered for this role.

5. To liaise with other sections within the Operations Department as necessary

to ensure the efficient running of all events and activities at the SECC; Closing Date: 18th January 2016

79
 The TPi Production Guide

THE PRODUCTION GUIDE

The TPi Production Guide is kindly sponsored by
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80
 Gerriets
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81
 VITAL STATS

VITAL STATS 178

IN PARTNERSHIP WITH

Chris ‘Squib’ Swain

Profession:
Lighting Designer

Date & Place of birth:

28 October 1987, Leytonstone, London, UK

What was the catalyst for you joining the industry?

I wasn’t very academic, and I didn’t do sports. So that left me with
drama. I had a really good teacher and one day I stayed behind to
help out with the lighting and set design. I realised that I was really
interested in lighting, so for my practical modules I chose lighting and
set design. I then went on to study Lighting Design at Central School
of Speech & Drama.
What was your big break?
In my third year, I got a placement with Lighting Designer, Brian
Leach. I’d been going to gigs and noticing how cool the lighting was,
and I started to really consider music instead of just theatrical lighting.
Brian asked If I wanted to go on a tour. I said yes straight away and the
tour just happened to be with The Streets. I turned up on my first day and
it suddenly dawned on me that I was the only person looking after the
lighting - I was the operator / tech and programmer. That was my first big
break. My first pro gig was at Glasgow Barrowlands and a drink went on the
desk! I thought I was going to get fired but I stayed with them for almost
three years!
What have you learnt from touring and how has your role adapted
over the years?
When you’re young and still studying and someone offers you a tour, you
think it’s great. And it is, don’t get me wrong, but no one tells you about
what happens when you get older and touring isn’t something that you
want to do for nine or 10 months of the year. A big learning curve I went
through is what I’m developing now; learning how to adapt how I work
as a designer by touring less. For example, with Everything Everything, I
designed their recent show but I’m not touring it. Now I tend to design for
a portfolio of clients, do production rehearsals, help get it up and running
and then hand over its operation to other people. I also designed Jungle’s
last tour, and I didn’t go on the road for that.
What’s your current desk of choice, and does that alter if you’re
handing your designs over?
High End Systems Hog 4. I really like it because all my cues go on cue stack
and with the Hog I can see it all really clearly. It’s a great desk for tracking
and cue-based shows so it works well for me at this point in my career.
Ben Houghton, does a lot of operation for me - including Jungle - already
knew the Hog when I was brought in to design their show, and we ended
up programming it together. He’s great, he’d been with the band since their
very early days, their second ever gig in fact, when he was just 18!
Sounds like you’ve encouraged his progress... have you had a mentor
yourself?
In the early days, Brian Leach really helped me out and I’m really thankful
“Dan Hill and I have decided to form a
company together which will combine
portfolios. This will launch in 2016...”
to him for that. I always wanted to do my own designing and he supported
that by giving me the chance to tour.
Indirectly, I would say that Rob Sinclair is someone that I look up to
professionally. He has an amazing eye for design. I have quite a lot of friends
who are LDs too, some of us are in a WhatsApp group where we support
and guide each other. Dan Hill is someone I have always bounced ideas off
and have a lot in common with design-wise, we’ve actually decided to form
a company together and combine portfolios. This will launch in 2016.
How do you continue to win new clientele in such a competitive
industry?
I got the contract with Years and Years because they’d seen my Jungle
show and they wanted to work with whoever did that. Their album artwork
wasn’t finished at the time but when I saw it, I knew it needed to become
the lighting set for the set design. I met with Light Initiative to help create
this set piece, and they did such a good job. It’s an exciting, fun place to
visit. It’s sort of like a mad yet brilliant LED lab!
I also brought Adam Young on board who I’d worked in the past on
Bombay Bicycle Club’s tour. We came up with all the concepts stemming
from the artwork imagery. Years and Years is the ‘poppiest’ thing I’ve ever
done and I finally got to put a rainbow into a design! It came together very
organically and it’s going into arenas next year so I’m sure Light Initiative will
run away with it in the best way possible.
You’ve worked with Neg Earth a lot. What keeps you going back?
Neg are brilliant. Julian Lavender and Amanda Liu are a massive support -
and they were even amazing after they encountered their warehouse fire. I
can’t speak highly enough of them.
What key skills do you think LDs need to see success right now?
Being realistic with space and budgets. If you design something that
someone can’t afford, it’s a waste of time. Budgets are getting tighter and
in a way that forces me to become more creative. Every design I’ve worked
on has had a custom set piece and I think that can give a unique edge.

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