Latest Issue - December 2014
It's 2015, and already it looks set to be a busy year, with all kinds of projects taking shape, some of which we already have one eye on and will follow as the year progresses.
In this issue, we kick off the year with a look at the new LED lighting installation in Sydney Opera House's Concert Hall, Steve Moles reports on Paloma Faith's current touring production, and Mike Wood examines the popular Shapeshifter multi-mover effect light from High End Systems.
We also have profiles on Stufish, the "entertainment architects" design studio founded by the late Mark Fisher - and Edinburgh-based Black Light, the sales, hire and installation company which last year achieved a remarkable triple ISO certification. Plus we have an update on Peavey Commercial Audio's UK operation, recently restructured in the wake of changes to Peavey's global strategy.
We also look forward to next month's ISE exhibition in Amsterdam with our round-up of expected highlights, while for this month's In Profile, I talk to award-winning lighting designer Andy Hurst.
We hope this new year proves to be a very fruitful and successful one for you all - and if you're up to something that LSi's readers might be interested in reading about, do let us know . . .
LSi is ABC Audited.
A round-up of predicted highlights and product launches from the forthcoming Integrated Systems Europe, Amsterdam 2015 . . .
Steve Moles takes an in-depth look at Paloma Faith's latest touring production. Focussing on lighting, audio, video, rigging, set design and production management . . .
Kate Lyon talks to Ray Winkler about the past and future of the legendary 'entertainment architects' . .
"Specifying and measuring a luminaire for a key light or a backlight is straightforward - three questions get you most of the answers you want: how bright is it, how flat is the beam, and how good is the colour rendering? However, none of those parameters may be useful when talking about aerial beam effects, gobos, or a myriad of other effects luminaires. "
"All of the ELC switches and nodes were housed in two racks custom-built by Solotech. Each included a 1500W uninterruptable power supply and one of them had a PC on which the ELC dmXLAN software was run."
LSi looks at the iconic venue's new LED house lighting installation . . .
Lee Baldock visits the Edinburgh-based company which recently achieved a triple quality certification . . .
Wakefield's newly refurbished Unity Works owes everything to an initiative started at grass roots level by the local community. LSi reports . . .
Phil Ward studies the Peavey Commercial Audio roadmap . . .
A look at new product offerings . . .
20 Years Ago . . . LSi January 1995
"The death of lighting designer Robert Nesbitt, known as 'The Prince of Darkness', was our lead news item this month, with an obituary written by Graham Walne. Nesbitt came to prominence a designer in the 1930s, and over the next 50 years was known for his immaculate lighting of lavish revues, many of them at the London Palladium. "His designs for the Talk of the Town Theatre Restaurant . . . and The Dunes Hotel in Las Vegas became the model for many nightclubs which followed," noted Walne."
10 Years Ago . . . LSi January 2005
"Business news included the sale of lighting control equipment manufacturer Lightprocessor and sales and distribution operation Lightfactor Sales to technology group Polaron, which had acquired the iLight and Zero 88 brands in 2004. The two companies were owned by Rossula Ltd, whose majority owner Mick Hannaford would become managing director of Polaron's entertainment lighting controls division. "
This month: The Year of the Cat-5
". . . for any enterprise engaged in audio and media streaming there is suddenly an expensive and inconvenient requirement to make sure there is always rock-solid expertise in IT security readily available."
This month: Tannoy Dual Concentric Drivers
"Sometimes, thinking outside of the box really does mean doing exactly that. Take the challenge presented to sound designer Martin Levan by Andrew Lloyd Webber for the original Phantom of the Opera in 1986: the composer wanted the sound to appear to come naturally from the stage rather than sounding like a bunch of loudspeakers around the proscenium. Levan's solution: to take the loudspeaker drivers out of their boxes and use them naked, open, exposed to the air . . . "
This month: Tour manager and production manager Craig Duffy
"Eventually, I persuaded John Curd to give me a job rather than being hacked off that I was at all his shows and never bought a ticket. Within a few months I was running the stage crew for him and from there to costing and accounting for shows and tours, repping all over the UK to booking and running the Klubfoot in Hammersmith and onwards."
This month: My first time . . .
"My first installation serves as a constant reminder as to how little our clients really understand. If I knew so little after years in the industry, clients must know considerably less - and that is something we sometimes forget."
This month: Freelance Advisor
"So, the new year starts with a timely reminder that you shouldn't let something just sit on your 'to do' list for too long - particularly in the fast-moving world of the internet, where it will likely have morphed into something else by the time you get round to to-doing it! Case in point: a website called freelanceadvisor.co.uk that I've been meaning to write about for a while. "
This month: Introduction to Pandoras Box
"One of the more popular media servers in live event production is Pandoras Box from Coolux. I've had the opportunity to use several different varieties of media server, but until recently, I'd never had the opportunity to work with this one. Last month I travelled to Agoura Hills, California, a suburb of Los Angeles, and took a class on programming Pandoras Box, taught by Sam Kriemelmeyer and Greg Maple. It was a great class, lots of fun, and it was everything I expected and more. I highly recommend it."
This month: Lee Baldock talks to award-winning lighting designer Andy Hurst
"What college taught me is how to use my imagination . . . The course was about problem-solving - which, for me, is what design is."
"We were in the Concert Hall and I explained that the entire lighting system was LED. They looked at me incredulously and said 'hang on, are we standing under LED light now?' I said 'yes it's all LED.' They were looking at their hands and saying 'this is unbelievable'."
Sydney Opera House's head of lighting Andrew Richards discusses the venue's new LED lighting system (Sydney Opera House)
"I think we could play some of these rooms without subs, that's how potent the main system low end is, but with Paloma's emphasis on a dancey low end it would be a mistake to leave subs out; the music needs that 50Hz hit."
FOH sound engineer Huw Richards discusses Paloma Faith's touring production (On Tour)
"From a market perspective, we feel that the time for the mega-arena shows may well be coming to a close; they certainly won't suddenly disappear but perhaps the frequency and number of artists prepared to make that huge commitment will diminish."
Ray Winkler of Stufish talks to Kate Lyon about past and future (Entertainment Architects)
Inside our Next Issue . . .
On Tour: Queen with Adam Lambert • Noise Control • GLP with Lenny Kravitz Carol Scott In Profile • Entertaining Sustainability • StageCo at 30 • Rigging Call