Events

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14 March 2016

Named in honour of the late Tony Gottelier, the industry innovator and commentator who passed away in 2006, the Gottelier Award is aimed at those members of our industry who have made a significant and sustained contribution to the advancement of entertainment, presentation or installation technology - whether in audio, lighting, rigging, staging, or any other related field.

Once the deadline for nominations passes this Friday (13 July), a shortlist will be drawn up of the most widely nominated people, and their names will be put forward, along with a brief summary of their achievements, to the Gotte

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14 March 2016

"This was a terrific CEDIA Expo," says CEDIA chairman, Simon Williams. " The event was bigger than ever, and looked more professional than ever. Exhibitors really stepped up to the plate, putting together some fantastic stands. And the education programme was again a top attraction for delegates.

"With mandatory certification on the horizon, the designer and installer examinations proved especially popular. CEDIA Expo continues to grow and we look forward to another great event in 2008."

(Jim Evans)

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14 March 2016

Around 3000 attended the event, with estimated television audiences of 800 million in China and two billion worldwide. Promoter for the event was Live Nation in partnership with OPG.

A 15m Orbit Flexidome was chosen as the appropriate stage system, as the site has a shopping mall beneath and no other structure could provide the rigging capacity combined with low self weight and point loads. Working on the roof of the shopping mall also meant the use of any cranes, pickers or forklifts was not allowed, so the whole system had to be hand

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14 March 2016

Audile of Manchester provided a Funktion-One PA system, comprising Resolution 5s and F221 subs, with a range of XTA units including two DP448s at front-of-house, with a DP324 SiDD inserted over the left and right channels being utilised for system EQ. A GQ600 graphic was also inserted at FOH for guest engineers to get their hands on. To keep the DJs under control, a D2 was set to work which helped to get levels consistent across the whole audio spectrum with the varying material being supplied by

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14 March 2016

The BB's were selected by the London event's lighting designers Patrick Woodroffe (responsible for the stage/show lighting) and Mark Kenyon (responsible for the TV and BBC's lighting requirements), and supplied by lighting contractor PRG London - along with all the other equipment.

Lighting for the Live Earth concerts challenged its designers to make the rig as energy-efficient as possible, so they used as many high output, low-energy lighting fixtures as possible - including LED and HMI sources. (Tungsten elements were reduced to an absolute minimum).

Ahead of the event, PRG's project director Carol Croft, approached a series of LED lighting manufacturers including i-Pix and asked them t

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14 March 2016

Chris Jenkins, BIC's entertainment and events manager and chair of the Bournemouth and Poole Music Industry Forum says, "Sun, Sea and Sound is all about encouraging people interested in pursuing careers in the most creative industry on the planet. There is no time like the present for our local industry to come together and hopefully inspire the future of the music business. This is great event for Bournemouth and Poole."

The Bournemouth and Poole Music Industry Forum was set up to provide a catalyst for projects like this and to provide a mouthpiece for the music industry in the are

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14 March 2016

The Scenofest attracted over 7,000 theatre students to a giant international festival of theatre technique. Its aim is to encourage students of lighting, staging, scenography, sound design, costume, makeup and more to expand their artistic and technical horizons through mutual collaboration during over 300 performances, events and workshops.

A non-profit event, Scenofest 07's numerous venues and stages were built and equipped on a voluntary basis.

ADB Lighting's contribution was to equip two main stages with its latest luminaires, including the motorised WARP/M automated zoom profile spotlight. ADB rigs featured in both the iconic Paper Box Theatre and the central Scenofest Stage.

Michael Ramsaur, pr

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14 March 2016

This year's show is all about change, the new layout brings Penton back to the ground floor with a remodelled stand, an updated catalogue, improved existing products and a debut into the pro-sound market, says the company.

Penton will launch of its new Pro-Sound Ceiling Loudspeaker range. This line has been two years in the making. It comprises 16 ohm, low impedance units for applications that require high audio quality, and 100v line units for use with commercial audio applications looking for the very best in audio reproduction such as background music, theatres, schools and hotels.

These ceiling speakers are packaged in a sealed, ported enclosure complete with a removable grill with no visible fixings and fitted with a rotary tapping selector locat

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14 March 2016

Stage Electrics staff presented Colorweb, which was a key interest at the show with an 8m x 4m section suspended along one side of the exhibition hall. The Colorweb system was programmed by Projected Image Digital, who provided on site advice and demonstrations of the PixelMAD LED mapping software and media server throughout the day.

Stage Electrics also presented the Apollo Right Arm, and also at the show was the HME DX200 wireless communication system, plus products from Swisson and Prolyte.

Business development manager Ed Gamble said, "It has been a fantastic event for both manufacturers and customers, spending time together taking an in depth look at some of the most exciting new technology in the marketplace, all in

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14 March 2016

"The day-long programme included military bands, USAF flyovers and kids' entertainment leading up to the big firework display, all fed to remote jumbo video screens reinforced with EV equipment," says Moore.

"We used ZX5 speakers to cover the Grand Terrace, Xi-1122 to cover the VIP area, and Xi-2123 to cover the parking lots - even the visitors barbecuing way out there could see and hear everything clearly. And of course we were also running EV CP series amps and Dx34 and Dx38 processing. The systems were time delay

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14 March 2016

"Jazz World is generally regarded as the musicians' stage," according to APR Audio's crew chief Matt Gunter. "This is where the real musical talent plays, and I suppose we do go the extra mile for them. But this stage is respected by the performers, engineers and audience because of the consistency of the sound. Jazz World uses the same PA every year, and we bring good experienced crew. We saw the noise police only once - we ran at 96dB all weekend, and had no problems at

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14 March 2016

A crucial part of guitarist Pete Townshend's stage set-up is a Crest XR-20 rack-mount mixer which has performed every show with him since the beginning of the tour.

Dick Hayes of Entec Sound and Light, long-time suppliers of audio equipment to The Who, explained that Townshend uses the XR-20 to do his own band mix onstage. "It receives sub mixes from the main FoH and monitor consoles and then Pete takes it from there. I'm pleased to say that, contrary to our initial expectations it does an extrao

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14 March 2016

The show was halted after just six scenes on its opening night for about 10 minutes due to "technical difficulties", the audience was told. Fans were left waiting while the problem was sorted - thought to be an issue with the rotating floor.

It was not the first occasion in recent times that a technical issue has hit a high profile West End production - Chitty Chitty Bang Bang also had difficulties in its early shows. And a West End preview performance of the Lord of The Rings musical had to be cancelled earlier this year when actor Adam Salter broke his leg after getting it trapped in set machinery.

Despite the first half hiccup, it was a standing ovation for t

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14 March 2016

Patrick Woodroffe was the global designer for the project, creating a formal plot that would be developed into the flagship London rig. As it was impossible for him to be present at all the events, he appointed a team of lighting designers - one in each hosting country - to re-create individual designs based on the availability of fixtures in the various locations.

In New York, Performance Environment Design produced the show and lighting designer Patrick Dierson explains, "We were approached not only out of trust, but also due to our past efforts in promoting environmental sustainability within live entertainment production. The crux of Woodroffe's vision for

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14 March 2016

Charcoalblue's specialist consultants worked in close association with architects Haworth Tompkins on the award winning Young Vic; John McAslan and Partners on the critically acclaimed Roundhouse and Ian Ritchie Architects on the RSC's groundbreaking temporary new home - the Courtyard Theatre.

Andy Hayles, managing director of Charcoalblue comments: "It was a great night. We're extremely proud to have been so closely involved with all three winning projects. It's great to see our contribution recognised from time to time."

(Jim Evans)

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14 March 2016

Staged by Seensee Musical Company at the Seoul Arts Centre Opera House, Dancing Shadows is an adaptation of the play Forest Fire, written by the celebrated Chilean Ariel Dorfmann. Music and lyrics are by Eric Woolfson of the 1970s rock band, Alan Parsons Project, with direction by Paul Garrington, lighting design by Simon Corder and sound design by Richard Brooker.

With plans to bring the show into both the US and Europe over the next couple of years, this initial production was designed to match up to international standards in all respects. Richard Brooker assembled a talented local sound tea

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14 March 2016

"For the complex setup that was spread over a long distance, the grandMA control system proved to be an invaluable tool. Its huge pre-programming abilities saved a lot of time during the design as well as during the programming part of the project development," says lighting designer Pawel Pajak.

One grandMA full-size and one grandMA light were used for the stage lighting and video server control. Additionally, another grandMA light controlled the searchlights using two wireless DMX lines. Two MA NSPs and grandMA 3D were also included in the event.

"Since the setup consisted of intelligent lights and video on stage with the searchlights being set on the other side of the river, we found working with the MA Net etherne

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14 March 2016

Cory's Audio Visual Services (OKC), supplied a combination of Dynacord Cobra-2 line array TOP boxes and PWH subs, EV monitors and mics, a Midas Verona console and Klark Teknik outboard gear for the show, ensuring every step of the signal chain was impressive for the ISB's numerous live events and breakout rooms.

"We are really happy with how the Dynacord, EV, Midas and KT equipment all works and sounds together in this system," says Preston Williams of Cory's, himself a bass playing OCU alumni, who mixed FOH for the ISB concerts. "We can utilise this rig in a variety o

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14 March 2016

2007 marked the seventh year of Croma 440 taking the Sonar del Dia contract. The largest of the four stages was the open air Village, where trip hop and funk ruled with 12 Adamson Y18s and six Adamson T21s, wi

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14 March 2016

Named in honour of the late Tony Gottelier, the industry innovator and commentator who passed away in 2006, the Gottelier Award is aimed at those members of our industry who have made significant and sustained contributions to the advancement of entertainment, presentation or installation technology - whether in audio, lighting, rigging, staging, or any other related field.

Following a six-week period of gathering nominations from across the industry, the shortlist of leading nominees can now be revealed, ready for the voting process to begin.

The nominees are as follows (in alphabetical order):

• Tony Andrews is a highly regarded designer and manufacturer of high quality point source loudspeaker systems, w

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14 March 2016

The two-day concert featured artists including Brigada Flores Magon, Mono und Nikitaman, Patchanka and Chaoze One, as well as several speakers and short films. The PA system included 64 JBL Vertec full-size line array elements, with VT4880 subwoofers arranged in matching arrays directly beside the VT4889 arrays.

"We chose the Vertec line arrays because they are very efficient and able to cover all styles of music during a concert like this," said Wolfgang Neumann of Sirius Showequipment. "Everybody was really happy with the performance of t

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14 March 2016

When not in use, the unit appears to be just another huge 34ft trailer, but at the push of a button, it unfolds Transformers-style to reveal a professional stage. The complete sound and lighting rig is set up in minutes. Mötley Crüe's Vince Neil observed: "The stage is an awesome portable stage with top notch sound and lights. I look forward to playing on it again."

All power for the stage comes from a built-in generator, and with a sound system designed for an audience of 10,000, power constraints were a prime consideration when the lighting system was planned. Designers found a solutio

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14 March 2016

Designed by Mark Hornsby for Paul Gillieron Acoustic Design, and installed by Orbital Sound, the system is designed to handle the Cathedral's wide variety of events and congregation sizes, forming part of a major £500,000 refurbishment. Key requirements for the sound reinforcement system included scalability and ease of use, incorporating discrete speaker positioning around the Cathedral, and a flexible, mobile mixer.

The Cathedral is the mother church for the Roman Catholic diocese of Southwark, and regularly holds congregations of up to 2000. Designed by the Victorian architect Pugin, the original building opened in 1848 but was destroyed during the Blitz and r

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14 March 2016

Artists featured on the main stage included Scissor Sisters, Razorlight, Kasabian, Kaiser Chiefs, Stereophonics, Natasha Bedingfield, The View, The Fratellis, The Fray, The Twang, Jamie T and Mika.

Lite Alternative's Paul Normandale provided the creative direction for all three stages at this year's event for SJM, assisted on the main stage by lighting director Glen Johnson.

The brief was to create a dynamic, encompassing visual range which as well as achieving a big look for the live stage audience, would translate well on camera for the TV audience.

The back wall of the stage featured a 19m wide by 6m high drop of Color Web 250, with further panels turning the stage corners to provide