"Even we were surprised at how the show has taken off in just its second year," said black light managing director and show organizer Gavin Stewart. "It was a fantastically successful event and the feedback from all round has been extremely positive. Scotland and the north of England are hotbeds
Entertainers featured in the show included Mexican superstar Thalía, Colombian heartthrob Juanes, and pop music sensation Paulina Rubio. The stars gave performances and received awards on an expansive stage that was decorated as a dance club, complete with a DJ booth and V.I.P. lounge area. The show's production crew included lighting director/programmer Felix Peralta, lighting director John Daniels, Catalyst programmer Jason Rudolph, head electrician Angus Sinex, and mov
SpectraFoo incorporates standards-based level metering, high-speed, high-resolution spectral analysis, the unique Phase Torch, correlation metering, triggerable waveform display, power balancing, a
Featuring performances and testimonials from artists and celebrities influenced by the band - including Marilyn Manson, Razorlight Blink 182, AFI and the Deftones the event will be beamed across MTV Europe's Networks of 120 million homes from October 2004.
Blackout's project manager, Kevin Monks, headed the team and collaborated closely with the MTV Networks Europe production management team. Blackout rose to the challenge of designing and supplying a trussing structure in line with the building restrictions imposed by Old Billingsgate's Grade II listed status.
The atmospheric Gothic set designed by Simon Beresford required o
The latest version of Visual act's operator desk was selected as it is especially designed for permanent installations, providing an ergonomic work area suitable for many hours of use on an everyday basis. Three operator desks were installed - one of which is wireless and can be moved to the house for rehearsals.
The control system has fully redundant servers and po
ESL's Mike Glover took the company's brand new KV2 Audio sound system to the event, which had been purchased just a week before following a demonstration at this year's PLASA show. The System was made up of ES1.8 subs, ES2.5 bass and the ES1.0 mid/high cabinets - all driven by KV2's EPAK amplifier/processing package. Glover says: "Even though we had not used the system in a large venue or in a live situation I had complete faith in what the equipment was capable of producing. We have had long discussions with Andy Austin-Brown from KV2 and this gave me
Long-time LD Phil Karatz has used Studio Beams before, but this is his first time to take out Catalyst. He says: "The Catalyst system has worked out great. I used mostly custom content but I also used a bit of the stock content - I like a lot of the art that shipped with version 3.2. I got a lot of content from Ani's office - she has cool art on her records. I also used digital pictures I have taken from
When a new general manager started a few years ago, the venue's 1000-seat Great Hall started to receive touring shows such as Boogie Nights with Shane Ritchie, which was a huge success. And when last year the venue put on its first ever pantomime - hosting 27,000 people to see Aladdin in just four weeks - the Assembly Rooms had firmly cemented its new revenue streams
When it came to lighting, Prestige Management sought something like the 1980s mega rock look, made legendary by the likes of AC/DC, Judas Priest, Iron Maiden, who vied to have the biggest and best lighting show on the road. Whitehead also took the stage styles and trends of this epoch onboard with the set design, adding a twist of modernity, capitalizing on the current design penchant for silver and metallic tones. He chose silver trussing and Par cans, metal stairc
Lighting for the show is provided by lighting designer Chris Kempton, with equipment supplied by Richard Martin Lighting. The most striking feature of the set is the back wall: made up of 24 screen-printed gauze panels, each panel is individually backlit by a floor-mounted VL 1000 TS. Kempton's decision to use VL1000s came from his need to use a framing unit that would be as silent as possible. "You never know who is going to answer a question, so all seven mics need to be left open - we needed a unit that wouldn't be picked up by them."
The predominantly white background also played a role in Kempton's deci
The fee per player is £150, with breakfast and lunch available to non-golfers for £75. Further information and application forms are available from DMC, telephone 020 7262 6777, or via e-mail at the e-mail address below.
(Lee Baldock)
Onyx advanced audio technologies, based in Houten in the Netherlands, has sold around 70 PMD670 recorders to the Dutch national/regional public radio stations, including NOS and NCRV, and the regional public radio stations RTV Noord, RTV Utrecht, RTV Rijnmond, and Omroep Gelderland. Most of the recorders are being used for ENG (external news gathering) and sports news acquisition and broadcast (some were used at the Olympic and Paralympic games in Athens).
"Our customers prefer solid state recording, chiefly
KV2's Alex Pagliani explained: "Throughout the day, the KV2 system had been playing at an incredible sound pressure level. The DJs of course pushed the system at the very limit for the whole of day, making some hundreds thousands of people happy when the truck was passing by!" Pagliani reports that one of the most common reactions from the DJs who were alternating on the platform was 'How can that small system make such a big sound?'
(Lee Baldock)
Clarity director Stuart Graham again turned to Martin Audio, his first choice loudspeaker supplier, for the components in The Underground. (Martin Audio presented the company with an award for 'Best New UK installer' at the recent PLASA Show).
Four Blackline F12s are flown from the ceiling above the stage (on either side of the scanner lighting) while a pair of WS2As, gro
Michel Lister co-ordinated and managed the project for Futurist, having been referred to Cadogan Hall via Leeds College of Music, where the company recently designed and equipped a purpose-built, 350-seat concert hall. Keen to push the technical envelope, Futurist's associate consultant Richard Northwood wanted to take a lateral approach, and utilize technologies and techniques common to other areas of the entertainment industry - such as theme pa
The work included the design and installation of a counterweight assist flying system, able to switch between powered and manual flying. With the initial phase of the project due to be delivered in November 2003 the project management and design teams pulled out all the stops to achieve the deadlines. Jim Roberts, Stage Technologies' project manager com
The contract was managed by LTP's Jonathan Adkins: LTP handled the specification of lighting systems internally, utilizing PA Installations to assist with the signal processing and control infrastructure of the sound systems, plus all the AV, and IT / Control technologies. For sound reinforcement design, LTP called in VSI. Adkins comments: "It was a huge asset being able to offer the client a complete sound, visual and control solution. Having one company dealing wi
The system comprises two IL 15.1 full-range cabinets featuring extended low end response, two IL12.2IL and two 15.2 full-range cabinets, two IL 118 high-performance, direct-loaded subwoofers and two PR 112M compact full-range cabinets for stage foldback. Broadtech has a wealth of exp
According to Japhy: "In the beginning of my design process, I needed to make a few positioning adjustments in order to accommodate some changes in scenery height. At first, I was reluctant to move them, not knowing how long it would take. However, the Nexeras were easy to re-position due to their compact and lightweight structure. A lighting designer should think of them simply as conventional lights with won
The 25-minute, four-times-a-day show was choreographed by Oki Wamu, who also chose and arranged the music. With only one day of rehearsals, good prepping was of the essence when it came to lighting, explains LD Mark Strange. "Bandit was absolutely brilliant" he enthuses, "It was a vast improvement on previous years. Their attention to detail and the quality of gear made a real difference from ot
Fredrik Holmstedt, who handed over monitors for the UK tour to Mark Nicholls in order tofulfil the role of
In addition to the large MILO complement, Exton and Sound Hire between them also supplied 24 M3D-Sub directional subwoofers, 12 650-P high-power subwoofers, 12 MSL-4 horn-loaded long-throw loudspeakers (including eight for flown side fills), and eight UPA-1C compact wide coverage loudspeakers for front fill (the only conventionally-powered cabinets in the system), mounted below the stage lip. Four DS-4P horn-loaded mid-bass loudspeakers provided additional suspended side fill. Everythi
The PA system installed for this event was composed of: 12 Proel AX3210P vertical array speaker systems; four subwoofers Proel EDGE121SP of 21" each for the extended bass frequencies. The arrays and subwoofers were powered by 12 Proel PSW2600 power amplifiers and controlled by a Proel DSO26 digital processor. The front-stage sound fill was guaranteed by four Proel Edge 25P speakers.
Along with the sound system, these following Proel acc
The eight Robe Spot 575XT and eight Robe Wash 575XT moving lights are part of a three-phase upgrade to the theatre's production lighting system undertaken by Enlightenment that has also included the supply of a console and dimmers.
Robe fixtures were initially suggested to the Coliseum's chief LX Phil Davies by Enlightenment's Paul Swansborough. They did a shoot out between Robe and assorted other brands, and Davies made his decision after careful deliberation. Beforehand, he'd spent a considerable time convincing the theatre's artistic director of the merits of automated lighting, and that they would greatly enhance productions generally and be a highly
