TPi February 2016 - Issue 198

TOTAL PRODUCTION INTERNATIONAL

IN REMEMBRANCE: LEMMY & BOWIE MUMFORD & SONS HOZIER JOSH GROBANIN THE SPOTLIGHT: CLAIR GLOBAL INTERVIEW: FRANK TURNER

MADONNATHE QUEEN OF POPS ARCHITECTURAL ALLURE

WWW.TPiMAGAZINE.COM ISSUE 198FEBRUARY 2016

LIVE EVENT DESIGN & TECHNOLOGY FEBRUARY 2016 ISSUE 198

TOTAL PROD

UCTION INTERN

ATIONAL

LIFE IS A MYSTERY, EVERYONE M

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#NOTBEYONDUSIm not going to lie, this is going to get a bit morbid. Its February 4. Its just a regular Thursday in a way. Except its really not, because its World Cancer Day. Dont get me wrong, theres a lot of silly days out there: National Hug a Vegetarian Day for a start. Am I a vegetarian? Yes. Do I want random people to hug me one day a year because of my dietary habits? Mate, absolutely not! But World Cancer Day is a day that does matter. In one swift login to Facebook, its clear that today is resonating with so many of you. Some more than others, but resonating all the same. Some of you from very personal experience. Its fi tting really, that I now have to open this magazine with a heavy heart due to the nature of what the Big (big, stupid, ugly, pointless) C has taken from us in the last few weeks. As humans, as music lovers, as live industry afi cionados, weve lost some iconic musicians. On December 28 we were left in total shock to hear that Mtorhead legend Lemmy had passed away. A hell-raiser on stage and an English gentlemen off stage, his personality was as loud as his bass thuds. Then, on January 10 we lost another British megastar in the form of David Bowie. The impact of this news hit generation after generation pretty hard. Again, the lack of public knowledge surrounding his illness created a very real shockwave through both the music industry and his adoring public. And then (I know!) just four days later, we also lost beloved actor, Alan Rickman. With such talents leaving us so rapidly, it was quite a shocking way to begin 2016. Lets not just put emphasis on famous people though; a 2015 health report estimated that 14 million people will learn that they have cancer each year. Thats tens of thousands per day. Told you this would get morbid. The good news is that more people than ever before are surviving cancer. And if 1 in 3 people (in the UK) are statistically affected by the disease in their lifetime, then the truth is that to live with cancer in any capacity, is to live in a state of normality. And as terrifying as that news may be for both patients and families, the good news is that we work in one of the most globally supportive industries imaginable. The whole reason I started the Clocking Off column in TPi was to give a voice to how charitable and caring you are, and the large majority of stories thus far have revolved around cancer. Its as unnerving as it is inspiring. And today, Im thinking of you all. So do me a favour - because Ill only nag you when I see you - no matter how busy you are, how gruelling your touring schedule is, how positive your outlook is on this beautiful life, please remember to check for those lumps, bumps, aches and pains. Gents, especially you. Pay attention to your bodies and look after yourselves. Our world wont be the same without you. Tributes start on Pg. 8. Much love,Kelly MurrayEditor

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IN REMEMBRANCE

ITINERARY

07

CREWa member of

08 Two Lost Legends Tributes to Lemmy and David Bowie.

EVENT FOCUS12 Mtley Cre The legendary rock bands Final Tour.

14 Britannia Rows New BSc Hons A new live sound production degree.

18 Motown Revue A talk with distinguished LD, Palle Palm.

22 Frank Sinatra Celebration An orchestral tribute to Ol Blue Eyes.

26 UK Events Group Fatboy Slim and Basement Jaxx celebrate NYD.

28 Shures KSM8 The microphone manufacturer unveils its latest dynamic mic at this years NAMM show.

PRODUCTION PROFILE32 Madonna A masterpiece set fit for a Queen; the icon returns with another stellar arena tour.

44 Mumford & Sons Kelly Murray pays the folk rock band a visit on their latest UK tour.

58 Hozier The Irish singer, along with his loyal crew, hit the UK with a full production package.

66 Josh Groban The opera-pop artist on his Stages show.

COMPANY PROFILE70 TRUCKINGBY Brian Yeardley Ste Durham visits the companys Yorkshire HQ.

74 Production Park An update from the Wakefield site.

DAY IN THE LIFE OF...78 FOH Engineer, Rob Sadler talks travelling tech.

INTERVIEW80 Frank Turner A look back at five years with Nitelites.

IN THE SPOTLIGHT84 Clair Globals new Cohesion CO-12 line array.

MOVERS & SHAKERS88 The latest industry appointments.

PSA90 Andy Lenthall meets Oluwakemi Eboda, who aims to improve event safety in her native Nigeria.

VITAL STATS94 Jim Digby, Founder and Chairman of the board of the Event Safety Alliance stops by for a chat.

EditorKelly MurrayTel: +44 (0)161 476 8360Mobile: +44 (0)7738 154689e-mail: [email protected]

Assistant EditorSte DurhamTel: +44 (0)161 476 8385Mobile: +44 (0)7891 679742e-mail: [email protected]

Editorial AssistantStewart HumeTel: +44 (0)161 476 8360Mobile: +44 (0)7712 607419e-mail: [email protected]

General Manager - Magazine & AwardsHannah EakinsTel: +44 (0)161 476 8360Mobile: +44 (0)7760 485230e-mail: [email protected]

Advertising Sales - TPi MagazineCharlotte GoodlassTel: +44 (0)161 476 9126Mobile: +44 (0)788 0208 226e-mail: [email protected]

Event Manager - TPi AwardsMo NaeemTel: +44 (0)161 476 8360Mobile: +44 (0)775 9272 313e-mail: [email protected]

Graphic Design & Production Dan Seaton: [email protected] Willcox: [email protected]

Accounts Lynette Levi / Sarah Miller: [email protected]

Chief Executive Justin Gawne

Mondiale Group Chairman Damian Walsh www.tpimagazine.com www.tpiawards.com

ContributorsLouise Stickland & Sarah Rushton-Read

Cover Photography Madonna by Stufish

Printed by Buxton PressAnnual subscriptions (including P&P): 42 (UK), 60 (Europe), 78/$125 (RoW).Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK. Tel: +44 (0)161 476 5580Fax: +44 (0)161 476 0456e-mail: [email protected]

Issue 198 / February 2016

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 this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the 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 loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork. Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Publishing Limited United Kingdom. The 2014 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Publishing Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.

08

While Lemmy came to be known as the embodiment of rock n roll - Jack Daniels, Marlboro Reds and (in the formative years of his career) amphetamines his favoured poisons - a short conversation with those who knew him reveals a much fuller picture of the man that we so suddenly lost in December 2015. Aside from losing one of musics last true hell-raisers, our industry in particular has lost one of its hardest working acts. Over the course of four decades, Motrhead forged a reputation as one of the worlds most uncompromising live rock n roll bands - a feat that was driven from the front by Lemmys ferocious bass playing and characteristically rasping vocal delivery. Perhaps given his own time as a roadie for Jimi Hendrix, Lemmy had a great deal of respect for his crew - even penning the Motrhead classic (We Are) The Road Crew in their honour. Steve Sunderland has been part of The Motrhead Family since 1979 and, along with his company Audiolease, has been involved in virtually every headline show the band played in Europe during that time. In addition to this, Sunderland was very close with Lemmy himself: Lemmy was a remarkable, unique man, and one of the nicest, most genuine, honest people Ive ever met. He was an absolutely fantastic guy. It didnt matter who you were - if you were a straight talker then

Lemmy had time for you. He continued: What people might not realise was that Lemmy was also a very bright, very together guy. He used to read extensively and was incredibly clued-up, particularly on military history from the 20th Century. His depth of knowledge was absolutely fantastic - he could name more or less every single German ship from the Second World War and even tell you what happened to it. (WE ARE) THE ROAD CREWSunderland also told of how, in his later days, Lemmy would often be found away from the noise, in his dressing room either on the fruit machine that the band took on tour, or reading an obscure history book. He continued: I never heard him raise his voice - he was always an absolute gentleman to everybody on tour. Motrhead became a family on the road, band and crew included, and once you were a member, that was it. It was a pretty special group of people. Another member of The Motrhead Family was Ian Eagle Dobbie, who also joined on the crest of the wave in 1979. He laughed: Ive got so many memories of Lemmy on the road, most of which are probably unprintable! Its safe to say that I had the time of my life working with Motrhead in its various incarnations, but Lemmy was always the constant. I saw the world with him, had arguments

IAN LEMMY KILMISTER 1945-2015

IN REMEMBRANCE: Lemmy

with him, partied with him and even fought alongside him. Once in particular I remember standing with him against a gang of German teddy boys who tried to crash our gig in Hamburg! Luckily, the police let us off because wed done them a big favour by sorting them out! Dobbie continued: Over the years The Motrhead Family developed, and you never lose that connection. I stopped in 2005 and Im still part of that family. One member of the family that worked on Lemmys last show was Lighting Designer Caio Bertti. He remembered his introduction to the team: Since my fi rst show, I asked everyone for feedback regarding how it was looking. Everyone was really happy with it; even the

superfans gave me some great compliments but no word from Lemmy. After a dozen or so shows, when I was focussing the lights on stage in rehearsal, Lemmy walked up to me, looked in my eyes and said: Hey kid, the lights look fucking good! What more do you need!? Although Lemmys unexpected passing cut short Motrheads latest tour, the band was still able to premiere its new stage show at a few dates, complete with the return of the legendary truss bomber. Sunderland remembered: The last time I saw Lemmy was at the show in Munich, which is where they fl ew the bomber again. Even after 37 years it was one of the best shows Ive ever seen. The band played exceptionally, he sang fantastically, the bomber looked incredible and

the sound was out of this world. It really was the ultimate Motrhead show. The fi nal word goes to MD of GLS Lighting, Ian Turner: Through my work at GLS, I have been privileged to look after Motrheads tour lighting for the last 12 years. During that period, we have seen some amazing tours culminating in the bomber tour in November and December 2015, just before Lemmys devastating passing. The band have always been a pleasure to work with and Ive always been welcomed as one of The Motrhead Family. There was no bullshit or pretence and he was always a proper old school gentleman. He really was one of a kind - a true rock legend who will be sadly missed.TPi

www.imotorhead.com

09

IN REMEMBRANCE: Lemmy

Opposite: Over the course of four decades, Motrhead forged a reputation as one of the worlds most uncompromising live rock n roll bands a feat that was driven from the front by Lemmys ferocious bass playing and characteristically rasping vocal delivery. Below: The bomber and Motrhead

10

Born David Robert Jones, Bowie began his life in music at the tender age of 15 when he formed his first band, The Konrads. In June 1964, at the age of 17, he released his first song Liza Jane/Louie Louie Go Home, under the name of Davie Jones with The King Bees. In that same year he began to show his anti-establishment persona by forming the The Society for the Prevention of Cruelty to Long-haired Men in defense of his unusual hair and style, which would soon become all the rage.

The following year he changed his name from David Jones to David Bowie, to distinguish himself from Jones of The Monkees (a choice that his manager at the time joked about, telling him that no one will make a monkey out of you), and slowly his iconic name began to spread across the British music industry.

Starting as David Bowie & The Buzz, he eventually released his first self-titled album at the age of 20. It was around this age that he started to apply his many talents to a myriad of different artist applications, ranging from short films to his own mime troupe Turquoise (which would later be re-named Feathers), alongside his ever growing musical exploits. At 22 he first saw his fame sky rocket as his hit song Space Oddity was used by the BBC to cover the moon landing; a fitting beginning to the budding stars rise to prominence.

Three years later, at the age of 25, Bowie first displayed his most striking and well-known character; Ziggy Stardust, who appeared alongside his ground-breaking album, The Rise and fall of Ziggy Stardust and the Spiders from Mars.

From that point on there was no limit to his influence on popular culture. Along with his ever-shifting music came spectacles on Broadway and the silver screen. However, as charismatic as he was in front of a camera or before a studio microphone, many argue Bowies live presence was beyond words. He left a lasting impression wherever he went, be they for televised appearances, live shows or festivals.

Some of his most historic appearances include his live rendition of Golden Years on Soul Train in 1975, his monumental contribution to Live Aid in 1985 and his headlining show at Glastonbury in 2000. Although it was at his live shows and during his tours where he showed that he was not only a transcendent musician, but a remarkably kind-hearted human being as well, as countless fans have stories of the singer stopping mid-song to check if his more amorous fans (those seeking to grab Davids hands only to find his security guards arms locked around them) had sustained any injuries in their dash across the barriers.

The singer was publically commemorated in a memorial concert held at Londons Union Chapel, where fans consoled each other while experiencing five hours of music and tributes.

Comedian David Baddiel told the audience: I assumed Bowie was immortal. I thought he was a space god who had come to live amongst us. And I couldnt process that he had died. He is, was, the greatest tunesmith we have.TPi

www.davidbowie.com

THE GENRE-DEFYING AND LEGENDARY MUSICIAN PASSED AWAY PEACEFULLY, SURROUNDED BY CLOSE FRIENDS AND FAMILY, ON 10 JANUARY, AFTER HIS

LARGELY UNKNOWN, 18-MONTH BATTLE WITH LIVER CANCER.

DAVID BOWIE 1947-2016

IN REMEMBRANCE: David Bowie

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12

Mtley Cres LD for their final tour, Matt Mills, who has previous worked with Nelly Furtado, 3 Doors Down, Disturbed and Linkin Park, stated that the band wanted to pull out all the stops for this latest tour. The band wants no ambiguity, he said. After 30 years, Mtley Cre was going out with a bang and wants to treat audiences to an unforgettable light show. The tour began in July 2014 and has covered more than 80 cities across the US, Canada, Europe and Australia. The tour wrapped up with a three-night run at the Staples Center in Los Angeles, culminating in a final show on New Years Eve. The stage concept centred around drummer Tommy Lees famous Crecify drum kit, which was attached to a platform and fastened to

two metal tracks, nicknamed the Tommy Coaster. The drum kit was welded to plates on the track, with secondary attachments for the individual parts. Lees drum solos began from the stage before he and his drum kit moved slowly up the track, rotating 360 during the ascent and going as high as 60ft above the stage before descending. Mills said the Tommy Coaster drew huge applause from audience. Tommy wanted a look similar to airport runway lights, Mills said. The Crecifly has two runs of truss, each approximately 200ft long, that support Tommys drum kit during his solos as he slowly rides on the tracks, starting on the stage and ending up at a landing platform behind FOH. Its pretty wild.

With the goal of creating an extravagant light show, Mills selected 36 Martin

A LINEUP OF MARTIN PROFESSIONAL LIGHTING FIXTURES ILLUMINATED ACCLAIMED METAL BAND MTLEY CRES FINAL TOUR. LIGHTING DESIGNER MATT MILLS DEPLOYED MAC VIPER AIRFXS, MAC QUANTUM WASHES AND ATOMIC 3000 DMX STROBES IN A LIGHT SHOW INTENDED TO DAZZLE HUGE ARENA CROWDS.

MTLEY CRES FINAL TOUR

EVENT FOCUS: Mtley Cre

Professional MAC Viper AirFXs, which provided huge aerial looks and rich textures for the stage setup. He also noted the MAC Viper AirFXs zoom capabilities and gobo package, which he said allowed him to experiment with lots of over-the-top lighting designs.

Mills added 10 Martin Professional MAC Quantum Washes to the trusses to provide adequate front wash for supporting act Alice Cooper. We wanted a powerful wash light, which is what we got with the MAC Quantum Washes, he stated. On top of that, we added 66 Martin Professional Atomic 3000 DMX strobes. It was a true lighting explosion.

Mills also said that another key benefi t of Martin lighting fi xtures is their fl exibility when it comes to placement. In this case, the fi xtures worked alongside a huge pyrotechnic show.

We actually had to make sure the fi xtures wouldnt get engulfed in fl ames, which meant fi guring out how to fi t them into tight spaces, he said. We knew no matter what the stage setup was, we could get the Martin fi xtures situated in the right spots. Mills cited the reliability of Martin fi xtures as the primary reason he has used them for more than a decade. First and foremost, the rig has to work and, with Martin, it always does. Plus, our

vendor, Christie Lites, is a large Martin rental house that keeps the gear in great condition, so reliability is never a concern for me. The feature sets are great, but the confi dence I have in the fi xtures working night after night is why Im still a Martin customer after all these years.TPi

www.motley.comwww.martin.com

www.christielites.com

13

EVENT FOCUS: Mtley Cre

Opposite: After 30 years of touring, Mtley Cre wanted to go out in style for their Final Tour with a huge show design complete with a big a light show and plenty of pyrotechnics. Below: LD Matt Mills made use of several Martin Professional lighting fi xtures for the shows including 36 MAC Viper AirFXs; the stage concept was centred around Tommy Lees death-defying drum solo stunt, nicknamed the Tommy Coaster.

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The programme has been developed after a long period of discussion and planning between Britannia Row Productions Training and South Thames College. The course will be run by South Thames College with Britannia Row Production Training industry professionals delivering lectures throughout the course.

The degree will be validated by the University of Northampton. Validation is scheduled for the end of March 2016. Student loans of up to 9,000 per year are available to meet course fees. Students can apply now for places on

the course which will commence in September 2016 through UCAS or directly to South Thames College.

Places are available, subject to course validation, but if the UCAS deadline is missed, would-be students will be able to apply directly to the college.

The first two years of the degree course will be based on Britannia Rows intensive Live Sound Technology Course at Level 5, which has been expanded. The third year will move the students onto the newly developed Level 6.

The course is intended to offer students

the opportunity to not only experience Britannia Rows programme but to enable them to collate a portfolio of work to make graduates immediately employable within their own network of contacts, not to mention expanding the students own academic disciplines. By combining mainstream higher education with industry training, this course offers students the opportunity to obtain this BSc Hons degree while spending three years with leading sound engineers and specialist technicians giving them the opportunity to establish a network of industry contacts by the end of your course.

BRITANNIA ROW PRODUCTIONS TRAINING ANNOUNCES THE CREATION OF ITS THREE YEAR BSC HONS DEGREE IN LIVE SOUND PRODUCTION TOGETHER WITH OTHER COURSES SCHEDULED FOR 2016. THIS UNIQUE DEGREE WILL GIVE STUDENTS AN INTENSE AND COMPREHENSIVE GUIDE TO EVERYTHING NEEDED TO PREPARE THEMSELVES FOR A CAREER IN LIVE SOUND PRODUCTION.

BRITANNIA ROW:TECHNICAL TRAINING

EVENT FOCUS: Britannia Row

Britannia Row Productions Trainings Managing Director, Mike Lowe explained his feelings on the new course: We believe that this course is highly unique and relevant to the live sound industry. As employers we have a good insight into what other companies are looking for when they recruit and what they will be looking for in the future. When we launched Britannia Row Productions Training and our fi rst short training courses in the summer of 2013, the thought of us building up to a degree course was a dream that we thought may lie ahead somewhere in the future. It is hard to believe that we have travelled so far, so fast. South Thames College and the University of Northampton both really got behind our belief that this degree in live sound is needed and long overdue and would be at its best and most relevant by partnering with Britannia Row Productions Training. I believe that this BSc Hons degree course in Live Sound Production will be the most relevant and focused training for anyone wanting to have the best of starts in the live sound industry.

Britannia Row Productions Training has also announced the fi rst two part time courses for 2016, both starting in March.

The next part time Live Sound Fundamentals course commences on Saturday 5 March 2016 and will run every Saturday thereafter for 16 weeks with a break for the Easter weekend.The course teaches entry level fundamentals for those wanting to work in live sound as semi- professionals in a local venue or for a small sound / AV company.

It is taught over 15 one-day Sessions. Each session can be taken as an individual stand-alone module for those wanting to brush up on a particular subject, but Britannia Row recommends that all semesters are attended in order to make the most of the course.TPi

www.britanniarow.com

16

EVENT FOCUS: Britannia Row

Previous page: Britannia Row Productions Training announces the creation of its three year BSc hons degree giving students an intense and comprehensive guide to everything needed to prepare them for a career in live sound production.

A brief summary of what students can expect from the three year course:

Semester 1 (year one)

Audio ElectronicsPrinciples of Sound

Studio and Live Multi-Track Tecnology

Semester 2 (year one)

Industry Professional PracticeLive Sound SystemsDigital Audio Systems

Semester 3 (year two)

Sound System Design and RiggingMixing, Remixing and Mastering

Synchronisation and Visuals

Semester 4 (year two)

Acoustic Prediction and Critical ListeningSound System Networking and Optimisation

Client Focused Projects

Semester 5 (year three)

Advanced Live Systems EngineeringExhibition and Presentation

Semester 6 (year three)

Final Major ProjectFreelance Business Plan

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The Motown Featuring Afro-Dite revue is one of the Drse & Norberg entertainment productions that Palm has been working on for the past four years. WepresentedtheMotownshowinthenorthofSwedenlastyear,butwithoutAfro-Dite,andwhenRobertDrsetoldmethattheyplannedtostagetheshowatBernsSalongeritfeltliketimetoexposeittoabigaudience.AsTechnicalManageratBernsSalongerfrom1989to1992Palmknewthevenuewell,andhelpedrelaunchitafterafour-yearrefurbishment.Hecommented:Theroomisabsolutelyfabulousandgivesthedesignerplentyofpossibilities. TheMotownshowwasallaboutthemusic,voicesandlighting,whichwasmadeupentirelyfrom72GLPheads.Wedonothaveanysetat

all-thevisuallookoftheshowisentirelyinmyhands.Becauseitisa90-minuteshowwithoutintermissionwehavetokeeptheaudienceengaged,bothwiththechoiceofsongsandthelightingstates,Palmadded. HeadmittedtobeinganoldhandatusingGLPstechnology:Likemanyofmycolleagues,Iamalong-timeuseroftheimpression120RZ,whichwasamongthefirstLEDwashesthatIconnectedwith. GLPsnewrepresentativefortheNordics,DanielRdn,waseagertobringPalmuptodatewithanewportfolioincludingX4s,X4XLs,X1s,X4Ls,X4Bar10sandSpotOnes. IhadseentheX4andSpotOneatLDIlastyearandonsomeTVspecials,buttheotherswerenewtome,hesaid.MylightingcolleagueCalleGrimalditoldmethatDaniel

wasstartingGLPSweden,andonceIhadseenademoIthoughtitwouldbewonderfultotryalargenumberonasinglerig. Palmsaidhewasimmediatelyinspired:Thecolourtemperaturesareamazingandtheskincoloursreallysmooth-infactIdidntneedanytungstenforthispurposeasIexpected.NormallyitisnottheeasiestthingtomixacolourfromanLEDunitthatlightstheskinwellbuthereitwasreallysimple.Ilovethecoloursandtrytouselooksthatpeoplecanrelateto-Ialsolikethehugezoominthelamps. ThedifferenteffectsthattheGLPunitscangenerateareslowlyintroducedafterthefirst20minutesoftheshow.Itisaverymusically-designedshowandweruneverythingontimecode,Palmsaid. Easytoprogrammeandquicktorespond

DISTINGUISHED SWEDISH LIGHTING DESIGNER, PALLE PALM, PROVIDED AN IMAGINATIVE LIGHTING DESIGN FOR A PRE-CHRISTMAS SEASON AT STOCKHOLMS FAMED BERNS SALONGER - EXCLUSIVELY USING LED FIXTURES FROM THE GLP IMPRESSION CATALOGUE.

NOTHING BUT GLP FOR SWEDISH MOTOWN REVUE

EVENT FOCUS: Motown Revue

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at the MA Lighting grandMA2 desk, the new roster of X4, XL, X1, X4L, X4 Bar 10 and Spot One fixtures received an immediate thumbs-up from both Palm and his Head of Lighting, Gian-Carlo Calle Grimaldi. He explained: Up until recently, I only had a limited amount of experience with GLP fixtures, other than using them on a handful of festivals around the country. Even these times I mostly came across the older impression fixtures such as the 120 RZ. My friend Daniel Rdn became Sales Manager for the company in Sweden and he opened my eyes to their newer fixtures. As for the deployment of the fixtures for the revue, the small X1, X4 Bar 10 and X4Ls were all mounted on towers, with the different units detailed for different effects. The X1 and X4 Bar 10 are used for effects only, Calle added. The bigger units such as the X4, X4XL and X4L are used for front, side and backlight. I also have Spot Ones on the floor behind the artists.Calle was the person that originally put Palm in touch with GLP by facilitating a meeting / demonstration with Rdn, which ultimately led to Palm choosing the companys fixtures for

the entire design. GLP has always been connected with quality products for me, as they were pioneers in LED fixtures with the early impression series, commented Calle. Both Palle and myself loved the colour mixing in the new fixtures and having all fixtures from GLP made the show really slick, with the same colour temperatures all over the rig. The colour and brightness of the fixtures is probably their most impressive aspect, from my point of view. The X4s that we used for front lighting were great for illuminating the faces of the artists in an effective way. Calle also cited the light weight of the GLP fixtures as a major selling point when it came to choosing the rig for Motown Featuring Afro-Dite. As well as making load-in and out less of a struggle, it compensated for the weight restrictions imposed by what he called Berns Salongers ancient roof. He concluded: The show turned out really well. Palle did a great job with the design and programming, as usual. Even if we had a really tight schedule for build up, programming and

rehearsals, having only GLP fixtures made the programming go really smoothly. As the show doesnt have any stage set, screens or big props, the visual part of the show is all based on lighting. The GLP fixtures turned out to be great for the show as they are extremely versatile, allowing a wide variety of patterns. I will definitely continue my relationship with GLP. We did something unique with this production and I know the production company is already looking at investing in some X4Ls, after already buying X-bars and X1s since before. It is clear that, in addition to his appreciation of the GLP fixtures, Palm also has an affinity for the venue itself. Las Vegas cannot compete with this - I am always so proud when I work at Berns because in my opinion it is one of the few real fantastic showrooms in the world, he enthused. When we have the opportunity to do a proper show with all those lights, other producers should come along and look at the potential.TPi

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EVENT FOCUS: Motown Revue

Opposite: The 1,200 capacity Berns Salonger is one of Stockholms most famous venues. Below: The Motown show was all about the music, voices and lighting, which was made up entirely from 72 GLP heads; Lighting Designer Palle Palm; The small X1, X4 Bar 10 and X4Ls were all mounted on towers, with the different units detailed for different effects.

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DPA Microphones recently played a key role in a highly unusual theatre project that marked the centenary of Frank Sinatras birth by bringing him back to the stage of the London Palladium. EntitledSinatra - The Man and His Music,thismultimediashowtookfootageofSinatrasperformancesoverhisentirecareerandmixedthemwithalive24-pieceorchestraandalivecastofdancers.Theresult,whichwasdescribedbyreviewersasacrossbetweenatributeandamusical,waswellreceivedbyaudienceswhopackedthetheatrefortheshowslimitedthree-monthrun. DPAsroleinthisprojectwastoprovideamplificationforalloftheinstrumentsintheorchestraandband.SoundDesignerDan

SamsonchoseDPAsd:vote4099instrumentmicrophonesbecausetheyofferedtheexceptionalaudioqualityrequiredandcouldalsobeusedbyeverymusician,regardlessoftheinstrumenttheyplayed. Themusicianswereoneoftheonlylivehumanelementsintheshowsoitwasimportantthattheywerenotstatic,Samsonexplained.Weweretryingtomakeitfeellikearealconcert,wherethebandwasbackingtherealFrankSinatra,sowewantedthemusicianstomovearoundandbepartoftheperformance.Wehadthemstandingupforsolos,standingonapalletthatformedpartofthebandstand,performingshoutchorusesandgenerallybeingveryvisibletotheaudience. The4099instrumentmicrophoneswere

usedacrosstheentirerangeofinstruments,frompercussion,drumsandbasstopiano,strings,woodwindandtrumpets. Theywereundoubtedlythestarsoftheshow,Samsonsaid.Theyaresoversatileandcomewithsuchagreatrangeofclipsandmountsthatwecouldusethemoneverything.SomeofthemicrophoneswereconnectedwirelesslytoourShureradiosystemandtheydeliveredaconsistentsignalregardlessoftheirlocation,whichmeantthatthemusicianshadcompletefreedomofmovement.Theyalsoofferedgreatisolationand,thankstotheirtinysize,wewereabletopositionthemreallyclosetothesoundsourcewithoutinterferingwithplayability. Asanexperiencedsounddesignerwho

DPA MICROPHONES D:VOTE INSTRUMENT MICROPHONES WERE USED BY ALL OF THE MUSICIANS TAKING PART IN THE RECENT CELEBRATION OF FRANK SINATRAS LIFE AND BACK CATALOGUE PERFORMANCE HELD AT THE LONDON PALLADIUM.

DPA MICROPHONES CELEBRATES THE MAN AND HIS MUSIC

EVENT FOCUS: Frank Sinatra

has worked on numerous shows such as Jesus Christ Superstar, Evita, The Glenn Miller Story, Joseph and the Technicolour Dreamcoat, Blood Brothers and The Sound of Music, Samson was very familiar with DPAs product range and uses them on all of his shows. He said: The d:vote 4099 instrument microphones are great for most instruments but I particularly like them on acoustic guitar because they sound so natural and warm. They

are versatile enough to mount on a range of different guitars and I have used them on steel acoustics, nylons and 12 strings, all with great success. The players love the way the guitars sound in their monitoring and are always pleased to see them. Samson also uses d:dicate 2011c cardioid microphones for percussion, stating their ability

to handle very high SPL and consistently sound great across a range of different instruments as the main reasons for his choice. If I need a miniature microphone, I use d:screet 4061 mics or d:fine 4066 headset mics, he said. The 4066 is better for rock n roll shows because of how consistently close to the source you can position them without compromising the sound quality. This allows for high levels of vocal foldback.

The microphone are also popular with performers because they are very comfortable to wear, even while the performers are dancing. They do a great impression of a rock vocal microphone but without the constraints of a handheld. The d:screet 4061, on the other hand, is much more suited to traditional shows because they deliver a really natural and detailed

sound. They are also really easy to hide on a performer. The 40-plus d:vote 4099 instrument microphones required for the Sinatra show were supplied by Cardiff-based Stage Sound Services, which has been a DPA advocate for over 10 years. Managing Director of the company, Phil Hurley, commented: From a rental point of view they are incredibly popular and are often specified by sound designers for a wide range of live sound and theatre projects. We have been supplying them since they were first introduced and we are really happy with their audio quality. As the range has developed they have become even more versatile because they can be used on so many different instruments. Hurley added that Stage Sound Services has over 200 DPA microphones in its rental stock, including over 70 d:vote 4099 instrument microphones, over 50 d:fine headset microphones and a number of d:screet miniature and d:dicate recording microphones. They are theatre staples, he said. And frankly they are a very good rental earner so I am happy to invest in them.TPi

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EVENT FOCUS: Frank Sinatra

Opposite: The show took footage of Sinatras performances over his entire career and mixed them with a live 24-piece orchestra. Below: Sound Designer Dan Samson chose d:vote 4099 instrument microphones because they offered the exceptional audio quality required and could also be used by every musician, regardless of the instrument they played.

We were trying to make it feel like a real concert, where the band was backing the real Frank Sinatra, so we wanted the musicians to move around and be part of the performance.Sound Designer, Dan Samson

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On 1 January 2016, Sankeys Warehouse secured a stellar line-up - including Fatboy Slim and Basement Jaxx - for a New Years Day party at Victoria Warehouse in Manchester, seeking a stunning production to match. It was Liverpool-based production company UK Events Group that was tasked with bringing the performances of two legendary dance acts to life, supplying everything from pyrotechnics and effects to a lightshow that was exclusively made up of ADJ / Elation fixtures. Thefour-roomvenue-whichusuallybringsinseparatecompaniestoprovidetheaudio,lighting,videoandeffects-tooktheunusualstepofaskingUKEventsGrouptodeliverfullproductionfortheshow. Thevenuehadworkedwithacoupleofothersuppliersandwaslookingforateamwhocouldcomeinandofferthefullpackage,explainedToryHarper,Co-DirectorofUKEventsGroup(withJamesMcMahon).Wehavebuiltourbusinessonbeingabletosupplyfromone

sourceandthevenuelikedthefactthatbycallingusitsavestimeandmoney,aswecansupplyalltheirproductionneeds. Thisall-in-onepackageincludedeverythingfromaudiotospecialeffects,withCO2andpyrotechnicsusedtoachieveHarperandMcMahonsvisionofadisplayinspiredbyraveandclubculture,offeringthewowfactorforthethousandsofdancefansinattendance.Wantingtoaddtothiswithabig,bold,over-the-toplightshow,McMahon,HarperandtheteamoptedforasetupthatincludedpowerfulmovingheadsandincorporatedanunprecedentednumberofAV6modularLEDpanelstoformonemammothvideoscreen. WehaveusedADJproductsforthepastfiveyearsandbelievethatthequalityofproduct,valueformoney,andserviceandsupport-fromalloftheteamfromsalesthroughtomaintenance-cantbebeaten,Harperadded.ADJproductshaveenabledustogrowourbusiness,inaccordancewithmarkettrends,atanaffordableprice,andthecompanyhasbeen

firsttomarketwithproductsincludingtheViziBeam5RXmovinghead. LightingDesignerOliverSucklinghad40hugelyversatileADJViziBeam5RXstoplaywith,while38ADJInnoColorBeamQuad7swerealsoprovided,allowingthemtoproduceastunningarrayofactivebeams.The5RXsPhilipsPlatinum5Rsource,motorisedzoom,prismeffectsandrangeof14colours(includingcool-whiteandUV)ensuredamesmericdisplayofconcisebeamsinaseriesofdistincthues;whiletheColorBeamQuad7s,poweredby70WCREELEDs,offeredhard-edgebeamsandplentyofroomforcreativitythankstoeight-zoneLEDchasing.DuringFatboySlim,thesesuper-tight,multi-facetedbeamsshotupwardstoaccompanytheblisteringburstsofflameatfrontofstage,addinganenergyandintensitytohisperformance. Anotherhugelyimportantelementofthevisualproductionwasthevideoscreen,whichwasusedtoprojectstrikingvisualsandartistlogosduringtheperformances.Formingthis

SPECIALLY SELECTED BY UK EVENTS GROUP, ADJS VERSATILE MOVING HEADS AND A COLOSSAL AV6 VIDEO WALL BROUGHT PRODUCTION VALUE TO THE PARTY AS FATBOY SLIM AND BASEMENT JAXX WOWED NEW YEAR CROWDS IN MANCHESTER, UK.

EAT, SLEEP, RAVE, REPEAT

EVENT FOCUS: UK Events Group

massive solid split wall (measuring 11.6 metres by 4.6 metres) were 140 ADJ AV6 video panels - the largest screen created using the AV6 since its release in 2015. Allowing huge-scale production value, the AV6 video wall provided an incredible backdrop for Fatboy Slim, displaying smiley face visuals and fl ashing the words Eat, Sleep, Rave, Repeat in huge letters as he treated fans to one of his biggest hits to date. At another point during the event, a huge screen-wide Basement Jaxx logo left crowds in no doubt about who they were there to see. The AV6 also displayed a range of visuals in vivid colour, working with the ADJ moving heads to create a high-energy, colourful atmosphere for the vast 7000-strong crowd below. It was exciting to see a company like UK Events Group showing the industry what the revolutionary AV6 - along with our range of powerful moving heads - is really capable of, commented Kris Dawber, Sales Manager for ADJ Europe. Because they offer exceptional brightness and clarity while being easy to link together, the team at UK Events Group had no problems using 140 panels to form a gigantic video screen that was the perfect back-drop for the legendary dance acts performing at the New Years event. It just goes to show that you dont have to spend big to think big and get creative!

Of course, this is exactly what Sankeys wanted; a budget-conscious but big-impact visual display that could be used to enhance the performance of each artist and give fans a memorable night of dance music in an atmospheric, visually stimulating environment. Harper said: The crowd went wild! Lighting and vision tells a story, and our technicians know not only how to work the crowd but also how to read the DJ and take the crowd on a journey. Social media comments after the event talked about the production of the show - thats when you know you have done a good job! And the post-event response was equally as positive from the client, which claimed UK Events Group had thrown the kitchen sink at the wall with this one. As always, ADJ didnt let us down - we had one fi xture lamp off, which out of a show with 122 fi xtures wasnt too bad and was rectifi ed in less than a minute, said McMahon. If anything, they have done us proud by showing doubters that you can put on a show of this scale using ADJ products - with a reaction that has got people in the industry talking and asking the venue who did the production! Having been booked on the spot for the next show at the venue, UK Events Group brought its all-in-one production package

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EVENT FOCUS: UK Events Group

Opposite: UK Events Groups all-in-one package included everything from audio to special effects, with CO2 and pyro used to achieve Harper and McMahons vision. Below: The AV6 video wall displayed a huge screen-wide logo for Basement Jaxx and a smiley face design for Fatboy Slims set.

back for a bill featuring Nicky Romero, Sander Van Doorn and Laidback Luke, with ADJs products playing a vital role. TPi

Photos: Kyle Mcloughlinwww.fatboyslim.net

www.basementjaxx.comwww.ukeventsgroup.com

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The KSM8 is the worlds first dual-diaphragm dynamic handheld microphone for revolutionary vocal reproduction and accurate sound-reinforcement and control. The KSM8 extends the companys wired microphone line, which includes numerous products of significance and enduring legacy such as the Unidyne 55 and the SM58 microphone. Designedforlivesoundperformanceswherevocalclarityandsoundqualityareabsolutelycritical,theKSM8notonlymeetsthemostdiscerningqualityandreliabilitystandards,italsohastheversatilitytoadapttochangingenvironmentswithoutimpactingperformance.TheKSM8willrevolutionisedynamicmicrophonesinthelivesoundindustrybyprovidingsoundengineerswithadynamicmicrophonethathasvirtuallynoproximityeffect,amasteryofoff-axisrejectionandanoutputaccuracythatrequiresnoneofthepresencepeaksorroll-offsthataretypicalofotherdynamicmicrophones. Itsahit!statedChrisPollard,FOH

EngineerforMumford&Sons.MarcusreallyenjoyedtheKSM8onhisfirstgigwithitlastnightatRockinRoma.AsdidI.Reallyclean,flatresponse,smoothHFandthereductioninspillisquiteamazing!Hedliketochangethemicoutmidtour,Marcusalsocommentedonhowgoodthemiclooked,andwantedtouseitimmediately. Meticulouslycraftedforexceptionalvocalreproductionandsound-reinforcementcontrolforworld-classliveperformanceinprofessionalvenues,theKSM8featuresthepurestcardioidpolarpatternthatShurehasdevelopedto-date,providingthemostconsistenton-axisperformanceregardlessoftheperformersmicrophonetechnique. Beingpartofthedynamicmicrophoneresurgencehasbeenextremelyexcitingforme,becauseourcustomerswerealwaysaskinguswhatsnextindynamicmicrophones,saidScottSullivan,SeniorDirectorofGlobalProductManagementatShure.Whenitcomestomicrophonetechnologyanddevelopment,Shurehas,whatIconsidertobe,thesecretformula.Inmyopinion,noothercompany,throughour

AT THE 2016 WINTER NAMM SHOW IN ANAHEIM, SHURE UNVEILED THE KSM8 DUALDYNE CARDIOID DYNAMIC VOCAL MICROPHONE DURING AND INTIMATE BRIEFING FOR PRESS AND ENGINEERS...

SHURES KSM8 MICROPHONE

EVENT FOCUS: Shure KSM8

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exceptional engineering department, could have achieved what we did with the KSM8. In order to make the Dualdyne concept a reality, we had to reinvent the way we make dynamic microphones, added John Born, Shures Product Manager. We knew the only way to bring the concept to life was to set all pre-existing parts and template designs aside and start from scratch. Since then, weve put over seven years of engineering and development into creating something we knew the industry needed, but had never seen. As a result, the introduction of the KSM8 brings an entirely new dynamic microphone element to

the world. The ability to virtually eliminate proximity effect and master off-axis rejection is powered by the patented Dualdyne cartridge of the KSM8, which features two ultra-thin diaphragms - one active and one passive - and a groundbreaking inverted airflow system. As is the case with all Shure products, the world-class design and durability of the KSM8 is present in every aspect of the microphone. A dent-resistant, hardened carbon-steel grille design lined with hydrophobic woven fabric provides exceptional plosive and wind protection, while offering virtually waterproof

protection. The aluminium handle - which is available in a brushed nickel or black finish - completes the KSM8s clean and sophisticated design aesthetic that is a seamless addition to any stage. The black-finished KSM8 is also available as handheld transmitter option for use with Axient, UHF-R, ULX-D and QLX-D wireless systems. For ULX-D and UHF-R, KSM8 transmitters are additionally offered in a brushed nickel finish. Wireless capsules are available in both brushed nickel and black.TPi

www.shure.co.uk

EVENT FOCUS: Shure KSM8

Both the D20 and D80 are controlled by intuitive user interfaces and incorporate four truly independent channels. Each provides extensive DSP capabilities for comprehensive loudspeaker management, switchable filter functions, two 16-band equalizers and up to 10 seconds of delay. Two amplifiers, alike in form and functionality but distinct in power output: D20 for small to mid sized applications, D80 for up to large scale needs.

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With todays highest-charting artists locked in seemingly perpetual battle to concoct the most elaborate and breathtaking stage shows imaginable, gig-goers can be forgiven for setting the bar particularly high when it comes to production values. One artist that continues to push the envelope, driven by her famously exacting standards, is Madonna. After all, nobody becomes the Queen of Pop by working in half measures. TheRebel Heart toursawProductionManagerJasonDanterworkingwithMadonnaforthefirsttime,takingoverfromroadveteranJakeBerry.Heexplained:WemetinSeptember

2014whentheyinvitedmetodothetour.WekickedoffinJanuarywiththeRebel Heartpromo,whichwenttotheGrammysfirstandthentotheBritAwards.However,itwasreallymid-Februarybythetimewestartedworkingonrehearsalsandsalesforthetour. Insomethingofabreakfromthenorm,DanterwaspersonallyinterviewedbyMadonnaforthejob:ThisisthefirsttimeIvebeeninterviewedbytheartist.IvehadtelephoneconversationsandImetBeyonceoncewhenIdidsomeworkforher,butmostofmyworkcomesviawordofmouthandisagreedwithmanagement. Conveniently,Danterwasonashortbreak

fromanothertouratthetime.Hecontinued:MadonnasmanagementinvitedmetoNewYorkfortheinterview.Therewerethreeofusintheroom;myself,Sarafromhermanagementoffice,andMadonna.Wechattedforaround45minutesduringwhichsheaskedwhatotherstuffIddone,whoIdworkedwith,myworkethic,andhowIkeeppeoplemotivated. Weseemedtohititoff.WejokedandlaughedalittlebitandIaskedherafewquestions.TwodayslaterIwasbackontour,soIdidntreallygiveitmuchthoughtafterthat.AboutthreeweekslaterIgotthecallsayingMadonnawashappyformetodoit,ifIwasstillavailable-andtherestishistory!

AFTER A SUCCESSFUL FIRST LEG IN NORTH AMERICA, MADONNA BROUGHT HER REBEL HEART TOUR TO EUROPE WITH THE GOAL OF MAINTAINING CONSISTENCY ACROSS THE BOARD. TPi HEADED DOWN TO ONE OF THE POP ICONS LONDON DATES TO MEET THE CREW AND DISCOVER THE INTRICACIES INVOLVED IN SUCH A MAMMOTH PRODUCTION.

MADONNA - REBEL HEART

PRODUCTION PROFILE: Madonna

ItisclearfromtalkingtoDanterandhistouringcolleaguesthatMadonnaisaperfectionist,andhewaskeentopointoutthatitdidntbotherhimintheslightest. Heexplained:Sheputsinalotoftime,morethanalotofotherartists.Shestouredforlongenoughtoknowhowshewantsthingstogo.Shesoundchecksandrehearseseverydayjusttogetusedtotheroom,wehavetobereadytogobymidday.Toachievethat,wedo30%oftheworkthedaybeforeshowdayandtheremaining70%ontheday.Therehavebeentimeswherewehaventbeenabletodothatandwevehadacoupleofbuildingswherewevestartedat2amandworkedthroughuntil5am-somethingIwouldntrecommend! Thegruellingschedulerequires90touringcrew,aswellas45vehiclescomprising13busesand32trucks,making135peoplealltogetherwithdrivers,andotherlocalcrewbeingbroughtonateachvenue.

TRIED AND TESTEDSetdesignspecialistsTaitTowersfabricatedallofthestagingandautomatedriggingelementsfortheshow,aswellasalloftheprops.Thestagedesignwasinthreecomponents-themainA-stage,whichwasbackedbyahugemodularvideoscreen,therunway,whichwasintheshapeofacross,andtheheartshapedC-stagethathadanotherlargelift.InthecentreofthecatwalkwasacircularB-stagewithascissorliftthatcouldriseabovethestage. BrianLevine,HeadofProjectManagementatTait,commented:Becauseofthetightscheduleandthelongrehearsalperiod,webuilttwoofeverything,whichmeantbuildingamockof

eachelementintheshowtoallowrehearsalstobeginwhilethetouringversionoftheshowwasbeingfabricated.Thechallengewasmakingalotofdecisionsaboutsizeandscaleforthemockpropswhichwouldforceustomatchthoseconstraintsforthetouringversions. Taitdidntprovideanystaffforthetour,asidefromthosewhowereinvolvedduringthelongrehearsalperiod.Thismeantthattheelementswerecreatedwithavarietyofvenuesinmind,asthekitwouldremainthesamethroughouttheworldtour.

AlthoughTaitwerechargedwithfabricatingthepiecesalone,thecompanydraftedinlong-timecollaborators,Stufish-whowerebroughtintothefoldagainbyMadonnapersonally,followingthesuccessoftheMDNAtour-todesignthestageandpropscenicelements.ThecompanythenprovidesTaitwiththespecificationsandaestheticdesignintentithastofollow. Levinecontinued:TaithasaverylongandsuccessfulrelationshipwithStufish.Throughouttheprocessofcreationandprototyping,weareinconstantcommunicationconfirmingdetails

andfinishes.Duringthistime,weshareourprogressthroughphotosandmanyshopvisits. TaitalsodesignedandfabricatedtheprecedingMDNAtour[TPiSept2012],whichLevinesaidhasgiventhecompanyagoodunderstandingofthedemandsandchallengesthatcomewithworkingforanartistofsuchmagnitude. Hesaid:Madonnaisveryspecificaboutwhatshewantsandisacreativegenius.Sheisincrediblyastuteandcanidentifywhethersomethingisbuiltaninchofffromthemock

versionorwhetherthematerialshavechanged.Thatisexactlywhyweenjoyworkingwithher,asourbusinessdemandsgreatprecision,accuracyandreliability. Thisshowwasavisualspectacular.Eachsongisaccompaniedbyadifferenttheme,propanduseofstageset,anditiscleartotheaudiencehowhardsheandthecrewworkedtoperfecttheshow.

THE ART OF COLLABORATIONStufishEntertainmentArchitectsProjectArchitecht,RicLipson,commented:Wehave

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Opposite: Madonnas large elevated stage was complete with an extending catwalk with a circular stage half way down and heart-shaped stage at the end. Below: Madonna had a great deal of invlovement in the entire creative process; Content for the huge video wall was created by Montreal-based Moment Factory; When The Machine was flat, it was flush with the main A-Stage but could be raised 2.5 metres and danced upon.

Madonna is very specific about what she wants and is a creative genius. She is incredibly astute and can identify whether something is built an inch off from the mock version or whether the materials have changed. That is exactly why we enjoy working with her.Brian Levine, Head of Project management, Tait Towers


Below: The A-stage and C-stage were linked by a runway that included a circular B-stage in the middle, flanked by two mini runways, giving the appearance of a cross.

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a long-standing relationship with Live Nation who promote the show and Madonna. Having worked on many Live Nation shows over the years, such as U2, Lady Gaga, Britney and Madonna. We also did the Madonna show in 2012 (MDNA) where we designed the whole show and the custom made roof that allowed the show to happen in stadiums. This was a new construction for Stageco, which has since gone on to be used widely. In 2012, Stufish created the set and stage design for MDNA, which included the 36 Matrix video cube lifts as well as many bespoke scenic props that were used throughout the show - also built by Tait. Around 60% of the shows Stufish designed in 2015 ended up being built by Tait. Lipson continued: At Stufish, we work from initial sketches and concept design in house and with the client to create the concept and the major design statement. We then do the more detailed schematic design and with our in house design and visualisation department we create a full 3D CAD package and render illustration storyboard for most of the shows including any kinetic movement with animations developed in house. We then work with Tait to take our design and creative information and turn it into modules that either fit into the Tait rental stock or, where a new solution is needed, we work closely together to get a system that can be

engineered by Tait to fit into trucks and be built quickly. Stufish tends to come up with the original staging concepts, then consults with a company like Tait to iron out practicalities like weight, size and ease of transport. The Madonna tour in particular also saw a great deal of collaboration from the artist herself when it came to concepts and design. Lipson said: On a show like this, Madonna is very involved. We take all the conceptual ideas from Madonna and her Director, Jamie King, and work with them to decide how this will manifest in the physical shape of the stage, the areas for video, what kind of kinetic props and staging will be required and what the smaller, more delicate handprops might be. Lipson explained that some of these ideas develop from the content of the music before being fused together with the overarching narrative journey of the show. This allows the choreographers, director and other creative departments to have flexibility in the stage space, giving options for how it can be used in different ways throughout the show. We develop our designs alongside the lighting and video designer to make sure there is a holistic approach to the design where the lighting, set and video elements can all work together to complement the design and form of the visual spectacle, Lipson said. Despite the team having more time and

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Below: Colour temperatures were carefully metered and matched for every show, while the uniformity of key light colour and intensity was a vital part of the job.

money to play with than they do on the majority of other tours, the complexity and meticulous attention to detail required on a Madonna show meant that everything took longer to finalise and integrate. Lipson concluded: The thorough process of rehearsal is unprecedented in the pop / rock show circuit and the design elements have to be created along with the vision on the show

at a fast pace and at the highest quality. The combination of years of experience working with Tait and other members of the production and creative team allow the process to happen as well as it could in the time allowed. One of the most striking pieces of engineering on the show was the 8.5 metre by 4.8 metre video screen, supplied by Tait, which when flat was flush with the main A-Stage and also danced upon. It could be raised by hydraulics up 2.5 metres, pivoting from flat to 90 vertically in 30 seconds, and was affectionately known as The Machine. Lipson elaborated: We have four massive

lifting columns, linked together by large beams, that allow The Machine to rise out of the stage. There are also four major rams that allow us to counter-rake the upstage quarter of the stage when we need to. Its a 55,000lb machine so its very heavy. It comes apart into four big lifting columns, then it all gets linked together with massive pins, and the whole video screen top is modular.

To say this is a hard show to do would be an understatement. Its physically hard, mentally hard, everyones exhausted, but its one of the biggest and most ambitious shows well ever do. The sense of achievement afterwards is mind-blowing.

HIGH-STAKES LIGHTINGThe penetrating stage design set a number of challenges for Lighting Designer Al Gurdon and his PRG-supplied rig - including the need to light performers much further into the audience than is usual. Were lighting large groups of performers but want to avoid washing into

the audience, he explained. To that end, the GLP X Bars became a significant part of the design and were used to delineate the stage and uplight the performers. Used to connect the stages, the X Bars gave Gurdon a number of options for shaping and defining specific areas. In total, 39 GLP impression X4s, 38 impression X4 Bar 10s and 84 impression X4 Bar 20s were used to complete his successful design. Overhead, the lighting is rigged in arrays in a number of pods around the stage. Gurdon used the fixtures individually and in conjunction with one another to giving the effect of one very large source. Balancing the lighting is a big part of the process on Rebel Heart. Gurdon added: I am used to lighting for camera. We have two IMAG screens and although theyre not particularly big we have a fair few close-ups, so Madonna has to be lit in an appropriate way. I work closely with Video Director Bert Par, who decides on the shots. Followspots were used for face light on Madonna, which was precision work. No matter where the crew were in the world, the spots were always in the same place on stage and at the same level. Colour temperatures were carefully metered and matched for every show, while the uniformity of key light colour and intensity was a vital part of the job. A couple of the spots are used for selective pick-ups for other performers but mostly, theyre used for Madonna - not all are used at the same time and the plan for pick ups is

The thorough process of rehearsal is unprecedented in the pop/rock show circuit and the design elements have to be created along with the vision on the show at a fast pace and at the highest quality.Stufish Project Architecht, Ric Lipson

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TPI_S-Series_Launch.indd 1 27/10/2015 8:41:51 AM


Below: The look and feel of the show was intended to be theatrical as opposed to a big pop show.

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precisely choreographed, Gurdon explained. Essentially Madonna needs to be perfectly lit everywhere she goes. The challenge is she is surrounded by people who also need to be lit in a different way. This makes the actual keying process extremely complex. Probably more so than any show of this type. Every show is like producing a DVD! Gurdon stressed that every fixture on the show has been carefully chosen. Clay Paky Mythos dominate the overhead rig, serving as the main workhorse of the show. This is primarily because they give a very punchy beam from a relatively compact fixture, the colour mixing is a great development and they go wider than their predecessors, the Sharpys, Gurdon chose the Ayrton Magic Panels for their versatility, which were arrayed in pods and used in a number of different ways. He said: I also wanted to use a group of Clay Paky Stormys to simulate a big flash. Theres great advantages to that. With the pods you can use them individually, or in single rows or collectively for really big moments, as well as being able to change the output colour! Touring Lighting Director Josh Hutchings had the task of recreating Gurdons design in each and every venue on his two PRG V676 consoles: Its been a real pleasure. There are hundreds of focus positions and each one has to be spot on. Its certainly not your typical 20 focus position show and run. Hutchings explained that the look and feel of the show is theatrical as opposed to a big pop show. Weve had our challenges. Every venue is different and that has given us some trim-height issues during the tour. My task is to

protect the show from change and yet maintain the integrity of the design. Madonna notices just about everything. You wont meet anybody who works harder than her. I meet with her everyday just before sound check, just to make sure that shes comfortable with any changes weve had to make. We walk her through all of her followspot locations so there are no surprises during her performance. Given the tightly-scripted nature of the show, the team used time coding, with the exception of one section of the show, where Madonna

can pick from a number of songs based on how shes feeling and how she reads the audience. Prior to this tour Hutchings and Gurdon worked together on a handful of TV shows. Hutchings added: Its been a unique challenge for me because I dont do a lot of touring. This is my first tour, certainly of this calibre, and its been great fun.

A WELL-OILED MACHINEA crucial consideration was the angle that the team lit Madonna from. The camera beauty shots for the IMAGs needed to be consistent and without glare wherever she was on the

stage. Theres a small team of people who just look at the camera output to ensure Madonna is lit correctly each night, said Lipson. Al knows how to make artists look great at any scale, both in the live environment, but in particular through the eye of the camera. Lipson had worked with Gurdon before on MDNA so they already had a good working relationship. From early concept we knew we wanted to delineate the edge of the stage with light, he continued.

We knew Madonna required plenty of spots to keep the IMAG content balanced, regardless of where she was on the stage. We also needed a substantial overhead rig - theres a lot of catwalk to cover with this show! Originally the rig was going to be dynamic. We wanted it to transition from overhead to form a wall of light upstage but for various reasons we had to compromise and instead went for the finger trusses, explained Lipson. So, to create the wall of light Al came up with the pod system and that worked really well. Video content also absorbs a major part of

Essentially Madonna needs to be perfectly lit everywhere she goes. The challenge is she is surrounded by people who also need to be lit in a different way. This makes the actual keying process extremely complex.Lighting Designer, Al Gurdon

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the budget and with an eclectic set list that included 25 back catalogue hits plus the new album highlights, most are backed by one of 22 different video sequences created by Montreal-based media studio Moment Factory, Veneno Inc, Danny Tull and a host of additional video directors.

AUDIO CONSISTENCYAs with the stage set and lighting rig, the audio crew and equipment on the tour were roughly the same in the US and Europe. The audio supplier, Eighth Day Sound Systems, duplicated the US rider out of its UK office and the production flew over the core control equipment with the stage. The touring crew worldwide is also the same, mainly as most of them have specific cues and one of Madonnas highest priorities is maintaining consistency throughout the tour. The company has worked with Madonna since 2006, initially due to the fact that the music director and FOH engineer at the time were in search of a certain type of console and speaker. The exclusively d&b audiotechnik PA system was made up of 68 J8 loudspeakers, eight J12 loudspeakers, 16 J-SUBs, 12 B22-SUBs, 24 V12 loudspeakers, eight J-INFRA subwoofers, 12

Y10P louspeakers, and 65 D80 amplifiers with ArrayProcessing. The Rebel Heart tour also had two DiGiCo SD7 consoles and an EX-007 fader expansion unit for control, which was specified by FOH Engineer Andy Meyer, who we last met on Justin Timberlakes tour. Project Manager for Eighth Day US, Jason Kirschnik, explained: The choice of equipment stems from Madonnas need for consistency. This basically means giving her the best sound available to her on the market. ArrayProcessing

has to do with consistent energy coverage on all plains, anywhere in the arena or stadium. There have been small configuration changes over the years as technology has improved, the last tour had d&b with D12 amps, but the core has remained DiGiCo and d&b. All of the feedback from the road has been

positive, with the shows sounding great - from our point of view, thats all you can ask for. We have a great relationship with both d&b and DiGiCo so they are more than happy to help with any servicing or equipment that we need. We also do extensive training with DiGiCo and d&b so our techs are pretty high level when it comes to the products themselves. This means were quite self-contained. The crew used Sennheiser ME 5005 e condenser microphone heads and MD 5235

dynamic microphone capsules on six SKM 5000 Series systems. Drums were mainly micd with Audio-Technica instrument microphones, along with a Shure Beta 91A in the kick drum. Sennheisers 2000 Series was used for guitars and an accordion, along with Radial DI Boxes. To capture the energy of the live show, the

The choice of equipment stems from Madonnas need for consistency. This basically means giving her the best sound available to her on the market. ArrayProcessing has to do with consistent energy coverage on all plains, anywhere in the arena or stadium. Jason Kirschnik, Eighth Day Sound Systems US

chosen audience microphones comprised Sennheiser MKH 8070 Long Gun condensers and Neumann KS184s. The touring audio crew was completed by FOH Tech, Mark Brnich; Monitor Tech, Wayne Hall; Audio Tech, Demetrius Moore; RF Tech, Clinton Reynolds; Intercom Tech, Mike Stacker Hackman; PA Techs, Rachel Lawrence and Greg Horning; Monitor Engineers, Matt Napier and Sean Spuehler; and Music Programmer, Dan Roe.

BLACK IS THE NEW ALUMINIUMMojo Barriers has worked with Madonna on previous tours, with her becoming the first artist to use its new lighter touring barrier on the MDNA tour. Project Manager at Mojo Barriers, Stanley Jilesen, met Danter while he was in Holland working on a Lady Gaga tour. This resulted in the company being contracted to supply all Madonnas European tour dates, as well as two further dates of the tour, in Taipei and Macau.

For all 25 European tour dates, Mojo supplied nearly 200 items of kit, including vario corner sections, snake gates and flex corner sections. This included a variety of barrier products for the front of stage and FOH production areas. Mojos wide range of special curves and corners in black aluminium made it an ideal choice, as the cross design and heart-shaped B-stage were complex structures. A Mojo Barriers crew was not required as the carpenter crew installed the barriers at every

show, though it did supply a supervisor at the first tour date to instruct the crew on installing the barriers safely. Jilesen said: Although this wasnt a challenging install, the shape of the stage did make this slightly more complicated. Madonnas large elevated stage was complete with an extending catwalk with a circular stage half way down and heart-shaped stage at the end. Madonna wanted the barriers to be very close to her stage in order to increase intimacy and

have close contact with her audience. The shape of the stage meant it was slightly more difficult to get the barriers as close as was requested, so the Mojo team used specialist stock, including corner sections, to ensure the shape was spot-on. Jilsen continued: Madonna always prefers black barriers to blend into the show, rather than the more commonly used silver aluminium. In Europe, the standing shows meant the barriers needed to be able to withstand increased crowd pressure. Jilesen stated that Mojo Barriers worked closely with Danter to design a barrier layout that suited the show and enabled Madonna to be as close as possible to her audience. Away from the main arena, Beat The Street provided bussing for the European leg of the Rebel Heart tour, while Fly By Nite supplied trucking and Eat Your Heart Out took care of catering.TPi

Photos: Sarah Rushton-Read and Stufishwww.madonna.comwww.taittowers.com

www.mojobarriers.comwww.8thdaysound.comwww.beatthestreet.net

www.flybynite.co.ukwww.stufish.com

www.prg.comwww.venenoinc.com

www.momentfactory.com


Below: Tait Towers was charged with fabricating all of the staging and scenic elements, under the creative direction of Stufish and the Madonna team.

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Although this wasnt a challenging install, the shape of the stage did make this slightly more complicated. Madonna wanted the barriers to be very close to her stage in order to increase intimacy and have close contact with her audience.Project Manager at Mojo Barriers, Stanley Jilesen

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It had been a long time since Id seen Mumford & Sons play live. So long in fact that when I wrote what was to be their first live gig review in NME Magazine, we were in a basement venue and the only production value in sight was the presence of excitable crowd sweat. Upon arrival at Manchester Arena - almost eight years later - the band has gone on to established themselves as folk rock champions, bestowing banjos upon the world the way we never imagined; with a good portion of identifiable youth culture and indie integrity, leaving city kids yearning for that hoedown charm. As LD Ed Warren greets me, he takes me to meet the band, who all promptly get up from watching a wildlife documentary to shake my hand and express an interest in the fact that

this time, their crew are the subject matter of interest, giving their gentlemen of the road title a worthy place.

PRODUCTIONTPi first met the bands new Production Manager, Steve Gordon on a Florence + the Machine tour in 2012, and four years later, the American Production Manager is once again looking after an internationally acclaimed British act, managing the technical feats behind their biggest arena shows to date. Taking over from Jamie Howieson who was juggling both System Tech and PM duties, Gordon was asked to take the reins and enable the crew to have a full time PM. Sat in his office at Manchester Arena, Gordon explained: He was pulling double duty

and as the tours got more in depth, it was just too much work for one person. The crew already had pre-existing relationships with some suppliers from previous tour cycles and I pretty much stayed with and respected the people we had in place, but I did make a couple of changes when I came in. After we did all of the promotional gigs, we geared up for the tour itself and did a week at Rock Lititz, which is the USs first purpose-built production facility. It was always a challenge in the US to find a space to do full scale production rehearsals but Rock Lititz is a great facility; it can hold an ungodly amount of weight! The staff are really nice as well, they made us feel very welcome. We were actually their first non-Clair Brothers / Tait Towers clients

WHEN MUMFORD & SONS WILDER MIND TOUR HIT THE UK IN THE WINTER OF 2015, THE PRODUCTION MARKED A SPECTACULAR RETURN FOR THE KINGS OF FOLK, A BAND THAT BROUGHT A NEW GENRE TO THE MAINSTREAM WITH EASE AND PROFESSIONAL DEDICATION. THEIR TOURING CREW AND TECHNICAL TEAM BROUGHT THEIR LATEST LIVE INCARNATION INTO ARENAS, WHILST STILL MAINTAINING THE INTIMACY OF THEIR ACOUSTIC ROOTS THANKS TO LD ED WARRENS CLEVER PRODUCTION DESIGN. TPiS KELLY MURRAY VISITED THE TOUR IN MANCHESTER.

MUMFORD & SONS

PRODUCTION PROFILE: Mumford & Sons

that theyd had in the building. Initially we decided to do an understated tour in small clubs where the band could play their new album; we did the Oslo club in London, another small club in Berlin and then we came to the US and played in LA at the Roxy. At the same time, we had people working on the design of the full-scale tour. Its been pretty full-on ever since, he added. There was a B-stage on the last arena tour and its a similar set-up this time. For the B-stage performance its really quite simple; they do their bluegrass, one mic thing. From a technical standpoint, it makes it a little more efficient but for the audience its a pretty intimate move, which makes a difference I think. It gets the band closer to the people who are on the other side of the arena and gives them something special at the back. The only challenge is getting people to be quiet sometimes! Especially when theyve had a pint or two! As for the band, they are, by Gordons own admission, incredibly nice people. He furthered: In the tour programme, Marcus [Mumford, singer] wrote this passage about the crew and its really quite heartfelt. They do consider everyone a family and are really excited about meeting everyone on the tour and knowing them by name. They say hello, ask how youre doing and genuinely appreciate how hard we work which makes them great people to work for. Indeed, when TPi posted this on social media, almost 30,000 of you viewed the passage. The tour vendors are PRG XL Video, Britannia Row Productions, Neg Earth, All Access Staging &

Productions, Quantum Special Effects, ER Productions, Hangman, Popcorn, Phoenix Bussing which have supplied five tour busses; three for the crew and two for the band and Fly By Nite provided 10 mega cube trailers for production logistics. The lead driver was Alex Case, assisted by Keith Blair. Fly By Nites Matt Jackson commented: The UK tour was very straightforward, we have worked with Tour Manager Colin Davies and Steve Gordon for many years now with various artists, and its always an absolute pleasure. Mumford & Sons are a band that had been on our radar for some time so it was great to finally get the chance to work with them. Gordon said of his suppliers: All of these guys are doing such a great job. When youre working with a company like Brit Row, you know theyve been around for a long time and that they do what they do so well. And real credit is due to Neg Earth, especially with the horrible accident [a warehouse fire] because they didnt miss a beat. I can only imagine how tirelessly they must have worked just to make sure their clients kept going. It is certainly testament to their dedication in the industry. LIGHTING AND SHOW DESIGNProduction and Lighting Designer Ed Warren has been with the band since their very first lighting requirements took hold: I was on tour with Florence + The Machine - about six years into my lighting adventure - and I met the guys through friends and got to know them naturally. When it came down to needing an LD for their first big London shows, they asked me to do it. That was in April 2009

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Opposite: Mumford & Sons recent UK tour took on arena shows with ease, filling the stage with a vintage rock look. Below: Ed Warrens show design incorporated special effects for the first time, allowing audiences to see the band in a different production environment with gags such as a white confetti stream from Quantum Special Effects.


Below: Light Initiative worked with Ed Warren to create a new product which re-vamped the look of the traditional PAR can: the Halo 64; Bassist, Ted Dwane; Video Director, Steve Price cuts the show in a classic rock mode, picking out the details of the musicianship.

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and Ive been with them ever since. He has therefore witnessed the substantial rise in Mumford & Sons career path, as it simultaneously grew with his. It was that summer in 2009 that we played Reading & Leeds festivals. We were third or fourth from the top of the bill and I couldnt even get to my lighting desk because there were so many people wanting to see them. I couldnt even get into the tent. Those kinds of moments happened over and over again that summer and I felt like something cool was about to happen. Its been kind of building from there. With this new album, its a bigger step than the last two records because the first two were more acoustic-based, whereas this is the first one with electric guitars and synths. So that gave me a bit more scope to experiment with my design and I could branch out. Like with any band, if they have kept doing the same thing then wed have struggled to develop the live show. For example, Ive been able to introduce lasers this time. The lasers in question are low level 1K beams refracted into an RGB burst. Theres one beam

weve got to focus out of audience sight lines but when they burst / refract the beams can skim the crowd, plus I can operate them from my desk as if they were regular lights in the rig, he added. ER Productions supplied 10 ER RGB Beamburst lasers, which were used across the globe thanks to an audience scanning variance. The on tour laser tech is Seth Griffiths. A lot of the chats I had with the band originally were about driving through the city in the dark and thats something that we used in some of the videos. A few of my original designs had streetlights elements on the stage until I moved my thoughts towards a kind of 80s rock rig. So its like an 80s rock rig driving down the street at night! They pretty much trust me with everything. Its great; not many people get that kind of trust with artis

TPi February 2016 - Issue 198

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