Latest Issue - May 2016
SSE at 40: We recently visited SSE Audio Group's HQ to mark the company's 40th anniversary. Having absorbed Melpomen in France and Canegreen and Wigwam in the UK, developed thriving installation and sales divisions and created a custom software system so all-powerful that it is known as Yoda, SSE has come a long way - don't miss Phil Ward's feature, beginning on page 46.
Also inside, Steve Moles gives us a detailed look at the hugely impressive touring production for Jeff Lynne's ELO, while I report on a reborn theatre venue, the Attenborough Centre for Creative Arts. We also take a look at the production behind London's latest immersive theatre experience, Goosebumps Alive! and discover how Nexo speakers fared on their first outing with touring musical production, Footloose. Meanwhile, in our Technical Focus, we have a review of the S6L digital mixing console from Avid, and our latest luminaire review, the Martin MAC Viper Performance.
Aside from all of that, our magnum opus this month is our round-up of equipment news and developments from Frankfurt's Prolight+Sound exhibition.
LSi is ABC Audited.
Steve Moles reports from Leeds Arena on the latest tour by Jeff Lynne's ELO, where - rather than knowing nostalgia - he finds a tight contemporary design and a production entirely 'of the moment' . . .
LSi looks at MGA Communication's advanced audio integration at Kingspan Stadium, Belfast - the home of Ulster Rugby . . .
Phil Ward celebrates the 40th anniversary of Sigma Sound Enterprises . . .
It's a UK first for Nexo's GEO M6 on the musical adaptation of Footloose. Erica Basnicki heads to Manchester to see how well it's been received . . .
The Attenborough Centre for the Creative Arts (ACCA) at the University of Sussex in Falmer, near Brighton, is a reborn theatre. Lee Baldock reports . . .
It's Goosebumps, but not as you know it! Claire Beeson reports from The Vaults on London's latest immersive theatre experience . . .
Lee Baldock and Claire Beeson report from Prolight+Sound, Frankfurt on the latest product launches, demonstrations and showcases . . .
Simon Allen looks at this live sound console . . .
Mike Wood examines the latest offering from Martin aimed at the theatrical lighting market . . .
This month: Phil Ward talks to sound engineer and educator Barry Bartlett . . .
"One of the things we in particular can do is keep the teaching up to date with the technology. It's such a rapidly changing market, more so than ever - look how fast Dante has risen . . ."
This month: High Frame Rate Cinema
"You can see exciting action or you can see performance, but you can't see them both at the same time. And that's what this format does. You can have fast movement but you can still read what the actor is doing . . ."
This month: Ben Robinson
"I used to be in bands and did a lot of the work; other bands started asking me to help them out. I ended up tour managing. I was the only crew for Slaves for a few years and we gradually brought in more people to spread the work load as the shows got bigger and more intense."
This month: Rescue
"Unfortunately, the near hysterical reaction to 'harness trauma' - later more correctly re-titled 'suspension intolerance' - in sectors of industry using personal fall protection systems led many to believe that that was all a rescue plan was about."
This month: The Noise of Art
". . . add in all the possibilities of digital audio networking for the transference of audio over huge distances and time zones, exploiting its zoning, delay and mind-bending potential for spooky dislocation, and you have a whole new industry sector."
This month: Source Four LED series 2
"You may not yet consider ETC's LED Source Four Series 2 Lustr a classic, but I feel certain history will judge it so."
This month: In at the Deep End
"They explained that David would sit at a table and talk to eight miners, but they'll only talk freely if they don't think the management can overhear them, so . . . a 12-piece band would play and there would be general dancing . . ."
This month: Olio
". . . the seven million tonnes of food that get thrown away each year in the UK, more than half of it still edible, suggests there's a need for this kind of service . . ."
"Jeff has fantastic ears: he was listening to the first rehearsed playback of Rock and Roll is King and immediately identified where I hadn't dared to apply the characteristic delay on the vocal that's on the recording. It's there now, of course."
Sound engineer Gary Bradshaw talks to Steve Moles about mixing for Jeff Lynne's ELO (On Tour)
"I asked my mate, who knew more about these things, 'what's he playing?' He said 'that's the roadie, he's not playing anything! He's operating the mixer . . ."
SSE's John Penn talks to Phil Ward (Driving Force)
"Much as I love ETC, I just couldn't justify the cost of using the Lustr+ for cyc lights, so we looked around for an alternative. We're very pleased with the Ovations."
Theatre consultant Paul Davies discusses equipment choices (The Attenborough Centre)
"Every time a train goes past some of the roof does fall down on to the kit . . . It's mainly the dust and the damp that's an issue in these tunnels . . . kit tends to suffer in there."
Chief LX Paul Walmsley on the downside of subterranean show production (Goosebumps Alive!)
Inside our Next Issue . . .
On Tour: Adele • Review: Production Report: Eurovision 2016 • Review: PLASA Focus Leeds • Theatre: The Color Purple • Venue: Pro Audio at Camden's Koko • Profile: OPTI