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December 2011 entertainment, presentation, installation www.lsionline.co.uk

Symphonica LSi visits on tour in

Also Inside . . .

CT at 25 Bridge to Enterprise Pride of Finland TF: Previsualisation LSi talks to Creative Technology DiGiCo: 10 years of innovation LSi at Music Centre Changing practices at the ROH

PLUS! Vectorworks 2012 • White Light at 40 • PALME Vietnam • Danley Sound in Leeds LDI Orlando • Newcastle Theatre Royal • J&C Joel • Q&A: ASD Chairman Gareth Fry . . . and more!

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Despite my best efforts, I never got to see , George Set was designed by tour director Ken Watts. I spoke to him Michael’s last tour, so I was really looking forward to this one. later and he revealed the design’s evolution had been easier I was not disappointed. For those of you who still think of than perhaps accommodating a 35-piece orchestra, 10 piece George in the context of , think again; the band and three BVs might imply. “George was very clear about how he wanted the show to look - clean and neat. That’s one mellifluous, honeyed tones of his voice still resonate with reason why you’ll notice the lengths to which we’ve gone to soul and passion, yet in maturing have become even drape and blackout this venue. Determining the stage set was smoother. a proportionate response: how much space do the musicians need and how can we place them so that visually they don’t Since being introduced to George’s album Songs from the last overwhelm the context.” Context being an implicit invitation for Century two years ago by David Claringbold, the GM of the audience to immerse themselves in possibly the classiest Theatre & Events at Opera House, I’d wanted nothing nightclub they’ve ever visited. “Once I got the placement more than to hear him render such masterpieces live; that he arranged it was just a matter of sitting down with Chris Cronin has chosen to do so accompanied by an orchestra is typical of at TFL and letting him engineer the details that make it work.” a performer who has always striven to impose the production values of the recording studio upon the stage. There is, of course, a little more to it than that. A fully plumbed dressing room sits below deck, for example, as do tech’ 25 years ago, designer Jonathan Smeeton put George in spaces for backline crew. The basic concept Cronin applied is a giant cage on stage and then unfolded the artist to his to have a rolling sub-stage (the load-in follows the typical public; these days George is very much master of his own convention: build the stage out in the hall while the light rig presentation. In covering the I discovered goes in and up, then roll it in beneath) with the terraces, deep an artist whose clear ideas of how he wishes to be seen and steps and horseshoe sat upon it. What really completes the heard exert powerful influences on all departments of the picture is that the two monitor men (four consoles, no less) are production team. relegated to a backstage position, completely out of sight of the audience. That single artifice more than any other - the Stage Set complete absence of a single visible member of the crew I was given a quick tour by stage manager Rik Benbow. This anywhere on stage - is what gives this show its class. was their second show at the Dublin O2, but there had been a boxing event between the two, so - lighting apart - much of the show apparatus was being reassembled having been loaded out. “The stage set takes parts of the old stage from the last tour, maybe 30%, and then marries it to the new stuff.”

The set is built from Total Fabrications Ltd (TFL) Arena Deck modular staging system. Benbow elaborates: “The design is in layers, a top horseshoe-shaped curved deck circumscribes the rear and sides and gives George a platform above the band and orchestra. Then the decking steps down in terraces beside central deep steps, with the band and orchestra distributed equally each side. The big thing is there’s a sub-stage, the different pieces sit on top; that means when we switch from a large arena like this, to one of the smaller opera houses or concert halls we’re playing, we can effectively pick and mix the elements of the stage set that fit and suit the venue.” OT_George_Michael:On tour.qxd 05/12/2011 15:23 Page 43

George Michael: Symphonica

Live at the Dublin O2 Arena: 3 November 2011 Words & pictures by Steve Moles OT_George_Michael:On tour.qxd 05/12/2011 15:25 Page 44

“Depending on space, it takes about four-and-a- Most of the video content is from Sound Spectrum half hours to build,” said Benbow. “We get out in (www.soundspectrum.com), a video version of two-and-a-half to three hours.” He was in no a sound-to-light unit, with a morphic, fractal quality tour doubt the effort was worth it: “I think it’s fantastic to it that grows and devours the screen. Often it’s from an audience perspective, the fabric Baz monochromatic, or certainly fixed within a limited on Halpin spec’d for the drapes takes light palette. “That’s what he always wanted, a seamless beautifully.” It’s not often you get a stage manager blend between lights and video, with lighting in the waxing lyrical about soft goods. “I believe we got supporting role. I’ve added my touches on how to the last three rolls in the world.” There’s no doubt play the rhythm here and there, but there are still the high gain fabric has an impact, for a black lots of parts that George and Baz agreed.” fabric the Austrian-style ruches look spectacular when coloured by light, and there are a lot of Does being parachuted in to take over a show them. The finish to the stage is impeccable, even present its own problems, even if you’ve worked the front edge is dressed beautifully. “The main with the artist before? “The key was to create the issue is storage, we have to keep the stage clean show in ESP Vision, which meant I could ‘virtually’ and slick. It’s a 180 degree presentation and watch what was happening on the stage video there’s never a flightcase in sight.” screen in the lighting software modelling program. To achieve that took two devices - a VGA scan Jem Matthews is part of the carpentry team: converter the video guys gave me, and a VGA “There are three of us and two trucks full of compositor which allowed ESP to know what to staging, 18 set carts and 182 decks.” size it to. So I’m running QuickTime with time code from the show track; when I see the colour The mix of new and old elements had not given change on the video screen I can stop and modify any problems, said Matthews: “The older stuff is the lighting cue. It’s graphical eye candy with pretty robust to be honest, so the way it locks lighting to match.” together is still solid. We have a few custom gate “There is a third element - there are cameras on sections but otherwise it’s pretty standard. The the tour and video director Richie Shipman tends only problem we have in assembly is the to blend IMAG pictures into the graphical image, language barrier; but the special sections are all but again these are often colour-keyed to the colour-coded, so as long as we keep an eye on overall image. I also have some content off them it’s all self-explanatory - even in Portugal.” a Catalyst that drives the RGB LEDs built into the stage set (narrow single row strips inlaid into the What about the LED strip inlaid in the horseshoe horseshoe decking by TFL), and the VersaTubes decks? “They haven’t given us any problems; the (deployed vertically as cover for the orchestral lighting guys fit them and hook them up. music stands). It’s just a way of adding animated Mechanically that’s all very sound. There’s a bay mood to what’s already prevalent. Mostly the area for the backline crew stage left and right. Catalyst looks at external input from Richie and Once we’ve rolled the stage into position we’re puts it across the floor.” able to take out a few of the cross bars to ease access. We have done one or two outdoor shows The console is a GrandMA2: “I have a pair of them where we’ve just used the horseshoe and steps; and although personally they’re not my first choice exposing the decks to rain hasn’t been a problem. of console - I’m more a Hog III man - their network It’s a good, solid system.” reliability is fantastic; if one console goes off-line the other takes over without so much as a flicker - Lighting seamless. I just hope that soon you’ll be able to Something of a cleft stick this one: Baz Halpin import different focuses determined by different was engaged to design the show, while Benoit trim heights.” Richard, who worked on the previous 25 Live tour, was brought in to run it. Richard is very much in What of lighting the musicians and artist? “There the pocket of the act - nothing wrong with that, are two main elements: 66 VL3000 Spots on and he’s very sympathetic to the design concept, curved trusses across the rear with another six on but it does mean some changes have been the floor, and clusters of Martin MAC 301 LED made. washes that work more for effect than stage light. The Vari*Lites are used very subtly. As George is He says: “Baz has designed a fabulous show. not a fan of top light they are used instead for Dennis Gardner programmed it before I took over, movement toward the audience. There’s no while he turned to his production manager foundation of ‘air’ washes. What I’m going to do is responsibilities. The main thing with this artist is put [Color Kinetics] ColorBlast TRX as up-lights communication, because I’ve been in this seat on the orchestra, that’s where he wants to see the From top: Simon Hall, band monitors before that channel is already open.” colour come from.” Left: Andrew Robinson, monitor engineer for George Michael Richard has been working on movies between There are approximately 60 x 2ft sections of TRX George Michael tours. Now a fully paid-up already providing the up and down light on the Right: Gary Bradshaw, FOH sound engineer member of IATSE Local 728 (Hollywood), I dare front truss and front stage Austrian scalloped Left: Dennis Gardner, production manager say we’ll see less and less of him touring. “Doing boarders. “My main light from the side comes that has rejuvenated me. That said, with this I’ve Right: Benoit Richard, lighting operator from a pair of horizontal trusses with rows of six tried very hard to keep the design intact, I just Clay Paky Sharpys on each (two either side of Left: Paul Brower, visualiser (Sound needed to tone down the things not liked by stage) and 11 Martin MAC 700 Spots on the floor. Spectrum) George. It’s still very rhythmic, but visually more These he’s more comfortable with - he especially Right: Richie Shipman, video director mellow.” Contrary to the traditional philosophy, likes the upward fans from behind.” Richard stated: “The purpose of the lighting is to Dean Ruffy (left) and Andy Tonks, video let the video take precedence and not distract Richard did admit these rules from George meant www.lsionline.co.uk Rear view: the curved video screen, from it. I often take my lead from it, following the he had to work all the harder with the side lights, supplied by Chaos Video. prevailing colour.” just to keep it varied. “It can get repetitive, so I’m 44 L&Si - December 2011 OT_George_Michael:On tour.qxd 05/12/2011 15:28 Page 45

Baz Halpin, LD

I took the opportunity to call Halpin, currently out in Abu Dhabi tour working on ‘Project A’ (the one we all know about but shall not

speak its name). I asked him about the origins of his design. on “I was approached by Ken Watts - he and Chris Cronin had already done the stage design. He initially sent me some reference material, such as the concert George had done with Pavarotti when he performed live with an orchestra. As it happens, I was familiar with the intended style - I had bought a copy of Songs from the last Century, so I had a clear idea. I also knew that George doesn’t like anything too complex or busy. I kept it uniform, the curved trusses enfold the artist, as he in turn is enfolded by the orchestra below; the rows of

Photo: Caroline True VL3000 on those three rear trusses emphasise that curved line.

“When we first met, George was focussed on the video content. still trying to find new ways of using them. wears tinted lenses all night) and this is the He liked my renderings, the [Barco] VersaTubes on the music The Sharpys do most of the work. Besides way it is always going to be. stands rather than have the orchestra playing in a black hole, that I just have four lengths of PixelRange and the pantographs for lowering the 301 clusters. The show is PixelLine beneath the stairs and 10 four- Sound full of subtlety. Although the music is of a mood, there are light Molefays for audience above the front This is the second tour to my knowledge dynamic episodes, and when they occur the Sharpys on the truss. These are important, particularly for where Andy ‘Baggy’ Robinson, with support floor and flown at the sides punctuate that perfectly. The ones the audience interplay in the last section of from the good people at Wigwam, has the show when he performs his more pushed the boat out technically to ensure off to the sides enable the stage to gain width visually for those well-known hits.” the live audio matches the aspirations of his numbers that need it, like or Buddy can you spare artist. Gary Bradshaw does a lovely job out a dime?. There are also followspots, a pair of Lycian front, Simon Hall keeps band and orchestra “The MAC 700s on the floor upstage are there specifically for 2500s on the truss, and Robert Juliat happy and in touch, while Robinson their effect wheel. Fixtures hidden upstage kept the stage Lancelots in the house. “He does nurtures the star’s own listening appearance clear and clean, but add a lot of options. George understand the need for key light for the environment. All are dependent upon the had seen my Sade show, he liked the cleanliness. The choice of IMAG. We try to get the house spots as far audio infrastructure Robinson has contrived. VL3000 for the major work on the orchestra is built on his off to the sides as possible, though not impressions from that show, and the fact it’s a good, stable here, where they’re straight on. The In some ways, you might imagine the work light. Mix them with a wash light on this show and you Lancelots are very green so I’m using half people at DiGiCo must sweat every time CTO with Full minus Green, plus a 0.3ND Robinson calls, but then they have sold wouldn’t be able to use them at the same time, the music just on house left; 0.6ND house right - the four SD7s to Wigwam on the back of it. isn’t that busy, so having VL3000s alone was enough and cameras tend to shoot him from stage left. Maybe it’s Chris Hill at Wigwam who maintained that clear, unfussy look. If you listen to the show, George takes a recording from a locked- should sweat, but whenever I talk to him the orchestra are there on every song, the arrangements are off wide camera each night and scrutinises about George Michael he seems to be the same, all done by the same person: I have to treat the the show. And yes, he does ask for things: loving every minute. lighting palette in the same way; in that sense the VL3000 at this point it’s very nuanced, it’s about carry most of the show - they’re the string section, while the finessing the look of a song.” “You should see what’s going on out here Sharpys are like the brass, providing the dynamic input.” in ,” he said to me from rehearsals And what of the visual content? “Any show you do with an So it is that lighting passes almost without back in August. “Just amazing.” Hill is one artist who is engaged at a visual level is fantastic; right or comment, this is much more about of those men who can smile and frown theatricality in its most precise sense, simultaneously, and then transmit that wrong it’s their show. George found the Sound Spectrum guys providing a dramatic environment for the expression down the phone. “Don’t ask,” on the internet. Yes we had our reservations - you need show without being a show in itself. If I were he said, chuckling. If rock’n’roll was just experienced professionals who understand live shows to build to be really picky, I’d say it’s too dim. The about renting gear, men like Chris Hill content - these guys had founded their business on developing Chaos WinVision video screen behind would be long gone; maybe too men like Apps for iTunes. But in the end a lot of what they have done is (7.8m tall by 22.8m wide - roughly 170sq.m) Dave Webster at DiGiCo; but they’re still really beautiful and unlike anything else you’ve ever seen on is more than powerful enough to cope with here because this ‘stretching the limits’ stage before. Their stuff is designed to be spontaneous, but much brighter lighting, but it remains a fact stuff is what makes it fun. But to front-of- here was George pushing them to adapt their stuff to be bigger that George Michael has eye problems (he house first. and to work to a cue, and they’ve done a great job.”

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L&Si - December 2011 45 OT_George_Michael:On tour.qxd 05/12/2011 15:29 Page 46

stage that provides several different sounds. For vocals, the BVs have Sennheiser SKM 5200 with the MD 5235 dynamic capsule. George has the

tour same hand-held radio unit with a KK 105 capsule that’s great for his voice; the BVs’ on capsule is more suited to their proximity to the band, where spill is an issue. Overall, it has proved a lot more straightforward than I first thought. There’s lots of dynamic variation from the musicians; the PA is sitting at around 93/94dB, and with lots of space in the arrangements I don’t have to do anything.”

Bradshaw is fresh from the Take That tour - stadium pop presented with a creative and effective solution to sound distribution through a mass of well-positioned Martin gear (see LSi July 2011). Now, he has an arena system of J Series from d&b audiotechnik. “This PA is just so good for his voice and this music. You can hear all the detail everywhere in the room. This is sitting down mixing, there is almost no PA EQ “I’m mixing approximately a hundred channels,” even with all those open mics. I do group the Crew List says Gary Bradshaw, “many of the orchestra band and apply an overall EQ on them; instruments are double mic’d - cellos and double otherwise it’s all pretty flat. It’s what Baggy has Management bass, for example. Add in a ten-piece band, done where the complexity comes in. We’ve got Ken Watts - tour director three BVs and a touch of Pro Tools and it soon four SD7s all on the same optical loop; we share Lisa Johnson - assistant tour director adds up. The whole show is orchestrated, except gain. I have a Lexicon 224 for his voice and use Holly Sandeman - production coordinator perhaps one or two songs; he finishes the show rich plate, otherwise all clean - oh, and some Dennis Gardner - production manager with acoustic versions of some of his classic pop tempo delays from the desk. The whole system is really hi-fi - Wigwam did a great job on the last Crew songs, just him and guitars. I get the whole tour and they’ve done it again this time.” Rik Benbow - stage manager orchestra to me as separate channels except James ‘Frommy’ Kelly - show manager strings, which I take from Simon Hall [orchestra The difference between Take That and this is like Harry Hughes - ASM monitors], who provides me with stereo comparing a power boat with a four-masted Andy Henderson - drums & perc tech sub-mixes. There is no orchestral percussion. schooner. The fact that Bradshaw can switch Aidey Dessent - guitar tech The band consists of the same musicians who from one to the other with such aplomb Kerry Hopwood - pro tools recorded the album with Phil Ramone producing. underlines his abilities; a more quiet, Nick Sizer - keys/orchestra tech He’s been out here quite a bit. Ramone is one of understated and capable engineer you could not the world’s top producers and I admit I was a bit Audio wish to meet. It’s about time engineers of this nervous to meet him at first, but he’s been really Gary Bradshaw - FOH sound engineer calibre - and there are quite a few out there - helpful. He told me what he tried to achieve in the Andrew ‘Baggy’ Robinson - GM monitor engineer were sponsored by Live Nation or whomever is studio. He’d say things like, ‘try putting the cellos Simon Hall - band monitor engineer promoting, to take younger upcoming engineers higher in the mix’. With him at rehearsals my Don Parks - FOH system (Wigwam) out on a ‘Sorcerer’s apprenticeship’ tour. orchestral mix came together quite quickly.” George Hogan - RF/monitor tech (Wigwam) Conor Dunne, Ralph Smart, Nick Mooney - PA Monitors Is there some sort of imperative to achieve studio techs (Wigwam) Andy ‘Baggy’ Robinson, as his nickname perfection on tour? “Interestingly it does change; Niall Flynn - record engineer suggests, is the most affable and laid back of the vocals are entirely live and we started by audio men, yet here he is presiding over an Lighting trying to put them over as something that closely inherently complex audio system. Why the need Benoit Richard - lighting director resembled the Air Studios recording. But the fact for structural expertise? John Shelley-Smith - lighting crew chief is one or two songs, when performed live, Luke Radin, Jim Mills, Katie Flanders, Martin needed their arrangements changed - so in that “We’re actually processing about a thousand McCloughlin, Adam Mogan - lighting crew respect it’s all become very live.” channels of audio. When we first knew of the Video orchestral content to the show Simon Hall and Richie Shipman - video director The orchestra are quite tightly packed, and the I spent two days in a hotel and thrashed out the Andy Tonks - crew chief/LED tech backing vocalists are stationed immediately in patch. There was really no lead time or Al Wright - LED tech front of the band percussion; imagining a light production set-up - as we had at Wembley Bob Stansfield - LED tech/cameras level delivery with a lot of open mics on stage; Arena for the 25 Live tour - becuase the band Bruce Selkirk - LED tech/cameras I wondered about spill. “The only real area of were busy recording the new album. So locking Dean Ruffy - LED tech/cameras difficulty is the flutes, with the trumpets ourselves away in a hotel and spending the time immediately behind. The strings all have DPA anticipating every scenario was the only way. Visualizer/Creative Content 4099 which exhibit great rejection; when we The show was already scheduled to pass Michael Figarelli - visualizer sent the first live recordings to an engineer in through different venue types - arenas, concert Paul Brower - visualizer the US he immediately asked, ‘what mics are halls, opera houses - how things would have to Rigging you using?’. I’m using very little EQ and getting work would vary, but what we couldn’t afford Steve Walsh - head rigger tons of gain. With the bass and cellos I also was for a show this complex to re-patch from Jules Grommers - rigger have those Schertler flat stick-on mics for the venue to venue to suit needs. Our plan had to low end. Horns are [Shure SM] 58s, 57s on the work everywhere.” And the fundamentals of that Carpenters woods, the flutes take Neumann 184. Drums solution? “Simon has one desk for the orchestra Mike McGuire (Head Carpenter), Jem Matthews, and percs is all pretty standard Sennheiser; I’m and one for the band. I have one for George, Jean Pierre Van Loo using their clip-ons for the Congas. All the music and effects.” There are three SD7s Catering backline is off stage and DI’d; guitars are all backstage, but I spotted a Midas to one side, www.lsionline.co.uk Simi Donald (Head of Catering), Darren Staats, clean. The piano at the front is played by MD “George’s vocals stay completely analogue; he Dave Pascoe, Jules Pascoe, Jessica Mayer-Jones Henry Hay; it triggers a Yamaha module off has great ears and even a two millisecond delay 46 L&Si - December 2011 TGog_ihe:ntu.x 51/011:1Pg 47 Page 15:31 05/12/2011 tour.qxd OT_George_Michael:On orchestras inEuropeandtheUK;musicians members oftheorchestra,withrestfrom Simon Halladds:“Thereare11permanent shows whereyoucanspecifyfourSD7s.” not challengedonbudget;therearemany We learntalotfromdoingit,fortunatelyweare to changeanything,justtakeafewthingsaway. where westoppedfor10days,didn’thave in practice?“BythetimewegottoDenmark And howdidthathotelbrainstormingworkout a structuredplatformforeveryone.” gain -we’realladultsherethatworksas sub-mixes fromSimoninstead.manages different departmentsofthestrings;wetake desk, soforexampleGaryandIcan’tfitthe can’t quitegetallthenecessaryinputsontoone desk hascontroloverwhichfixedchannels.We on thelooppossible,andwecanchoosewhich tour. ThenewSDracksmakehavingfourdesks 11; that’ssomethingjustnotpossibleonthelast stage racksintotal,thefibreloopcouldsupport fibre tothepitworksverywell.We havefour up to150mfromthestage;certainlyrunning Optocore looptheorchestracould,intheory, be the pitataconcerthalloroperahouse.Usingan placed forregularstagepositioning,orin headphone ampsareoneentitysotheycanbe list we’deverneed;theorchestrarackandtheir stage racks,weimaginedthelongestchannel “In anticipatinghowmanyandwheretoplace that canendupchangingtheEQinear.” imagine? “Don’tforget,evenashortdelaylike doesn’t escapehisattention.”That’shardto uncomplicated, hassle-free,soliddevice.” unlike otherrecordingsystemsthey’rean that; theBlackBoxunitsareoneverynightand has outfrontarewhatenabledustodo check; therecordingsfromJoeCokitGary fact is,wehavedoneshowswithoutsound- Is thatasdifficulttomanageitsounds?“The the outputsyoujustcan’tfititallononedesk.” I neededtwodesks:whenyoustartaddingup orchestra feedsandvice-versa.That’swhy to GaryandBaggy, thebandissub-mixedto because aswellfeedingsubsoftheorchestra down-sub mixesbetweenmytwodesks, vocalists allhavetheirownmixes,Ialsomix second violinsetc.Thebandandbacking mix foralltheotherfirstviolins,samethrough Hall. “A stereomixfortheleadviolin,thenanother “Mix managementisfairlyobvious,”continued favourable frequencies. to keepthoseradiounitscleavedthemost redoubtable GeorgeHogansiftingtheairwaves Sennheiser providetoursupportwiththe move downstagefortheacousticfinale.” Sennheiser 2000serieswirelessIEMwhenthey they’re alsohard-wiredinthestaticstate,Iuse system withLab.gruppenamps.For theband a steadystate.Allhavewiredin-earfeedwith in fairnessalthoughtherearepeaksit’smostly have theirownmixes,includingtheconductor, but over 20mixessobigchangestaketime,theyall European dates.Theorchestramonitorsaresplit from Praguewherewestarted,didmostofthe local leveladjustfunction;it’saCanfordAudio detail.” Garden shows.We spendalotoftimeonthe assembled fortheAlbertHallandCovent backstage. We’ve evenhadcustomtab-tracks it sonosinglememberoftheaudiencecansee amount oftimeondressingthestage;wemake spend whatsomemightthinkaninordinate Watts mentionedthemasking:“Yes, wedo audience anditrequiresconsideration.” them exactlywhereyou’dlike;thisisaseated attention, it’snotrock’n’roll,youcan’tplonk The camerapositionsalsorequirecareful these arethebestandsoundispristine. 33m fromstage.Intermsofgearandpeople, front-of-house positionisbetween31mand off, thenyouneedspeakers.We alsoinsistthe going todeliverwithoutblowingpeople’sheads coverage. Thesoundistheshowandifyou’re quite theoppositeactually-butit’sallabout of it,notbecausetheshowneedstobeloud- the biggestelementformeisPA; thereisalot musicians makesitallalotsweeter. Probably every sensecarryingourownprincipal Yesthe UK. itdoestakesomeorganising,butin Czechs inEurope,IrishandEnglishhere for thepick-up musiciansit’sbeenlargelythe panned out.“ThecoresoloistsarefromtheUK; Gardner howmanagingatouringorchestra “A manwithanamazingcapacity.” Iasked show andloadout,”saidHalpinonthephone. directing thingsallday, andthengorunthe “He’d beunloadingthetrucksinmorning, production managerandlightingoperator: Dennis Gardnerstartedthetourasboth Production L & S - i December 2011

ontour

47 www.lsionline.co.uk OT_George_Michael:On tour.qxd 05/12/2011 15:32 Page 48

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0 VL3000 VL300 SPOT SPOT VL3000 VL3000 SPOT SPOT VL3000 VL3000 SPOT SPOT SYMBOLS

VL VL3000 Mac700 PRO SPOT3000 SPOT VL3000   00  SPOT 000  11 VL300  SPOT 0 VL3000SPOT VL3k SPOT

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VL3000 SPOT 

SPOT VL3000

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SPOT VL3000   3   3

TITLE GEORGE MICHAEL

LOCATION WORLD TOUR 2011

DESIGNER BAZ HALPIN ASSOCIATE DESIGNER CHRIS NYFIELD DRAWN BY:  PERKINS DATE:   R40' FILE NAME: Courtesy of Baz Halpin, Silent House Productions  CL SCALE: ANSI 1/4" = 1' D

Video support for the LED modules allows us to hang This is the first iteration and I fully expect to see Video is such a dominant part of this show, it’s no a very large screen in places that wouldn’t more in the future. First out it stacks, the whole wonder a lot of attention is paid here. The screen normally have the load capacity.” truss for this tour is just two dollies. It’s also fast is curved, concave across the centre of stage, to put together, though in the future I’d like to and rolls off convex at each end rather in the The screen modules are actually subbed from see pins instead of bolts to make it even faster. fashion of a scrolled document. Affectation? In the VER but the cameras and PPU is all from Chaos: From a health and safety point of view, the O2 Dublin certainly not - the shape allows a more “It’s one of the biggest I’ve toured with,” said I-beam trolley across the rear addresses the visually fulfilling view for the audience at the Duffy. “We’ve got two quad splits just to the issue of access for repair head-on; and let’s extreme edges of the auditorium. This is a very monitor desks.” So those two monitor men face it, there’s always something that needs wide room so although the benefit may be less marooned backstage can see what’s going on doing to these screens. For me, as a custom pronounced in more conventional rectangular from multiple POVs. “Plus feeds to the Pro Tools truss designed for dedicated purpose, it’s arenas, it still means the 180° presentation is guy, stage manager, and the autocue. It’s based fantastic and ticks all the boxes.” never visually compromised. Consider the on a Blackmagic 3G Hi Def router - basically 64 experience of an IMAX cinema: this is somewhere inputs 128 outs. I can send any feed to the I mentioned that Andy Tonks felt it took as long between that and a flat screen presentation. monitors, even a close up, independently. The to reach and repair as with the old method, Blackmagic is really good and we can go 150m scaling the structural framework used behind “The system is 9mm pitch WinVision,” explained with full HD without re-clocking; normally you’d other screens. “Maybe, but then this way is Andy Tonks on the video crew. The screen is struggle to get 50m. We use d3 from UVA to safer and we’re not flying all that additional suspended from Video Truss built by TFL. screen map the content from Sound Spectrum. weight of a sub-structure to support the LED Winner of an Innovation Award at this year’s Richie Shipman (director) is running at 50 panels. What we’ve found on tour is this: Nippy PLASA Show, it is co-designed between TFL and frames per second, 2432 by 832 pixels: that Industries trained all the guys on using this truss Chaos Video; US director Nick Jackson having eases the burden on the processing and keeps before the tour - they’ve all been taught how to spawned the original idea. In simple terms it’s an the whole thing stable and looking very sexy.” ascend manually for rescue purposes. When inverted triangle truss with an ‘I’ beam on the you use the little ProStar motors to take you up upstage cord that facilitates a beam trolley with Head rigger for the tour, Steve Walsh, was sat at you’re still attached to the [Petzl] ASAP fall bosun’s chair-type apparatus to allow easy and home basking in the warm glow of a new-born arrest and rescue line. For the lower repair jobs safe access for technical repair. How’s it working baby when I visited Dublin. He did, however, the guys are tending to just ascend manually - out in practice? “Because of the curve we have have some useful comments on the new video they’re still attached in two places - ASAP and five little half-ton CM Prostar hoists to cover the truss. Does it further the rigging profession and rescue - and that saves the time of powering up whole truss, although the screen is mounted provide real positive benefits, I asked? “It does. the motor. For the higher reaches I think they all curved, the truss is straight sections with little angled bend-connectors, so the ‘I’ beam is not continuous. For working on the lower sections, we just pull ourselves up into position manually. The WinVision stuff is very good - I think we’ve had just four or five faults in the 37 shows we’ve done so far. That’s down to packaging; on that side of things Chaos are brilliant, their equipment is better packaged than any other I’ve ever toured with.”

Tonk’s fellow video tech’ Dean Ruffy added an interesting comment: “There’s nothing idiosyncratic about the way they package; often you find things that work well for one person but not another, but this Chaos system works for

www.lsionline.co.uk anyone.” He liked the truss for another reason:

“The weight saving from not having a structural Courtesy of Baz Halpin, Silent House Productions

48 L&Si - December 2011 TGog_ihe:ntu.x 51/011:0Pg 49 Page 16:20 05/12/2011 tour.qxd OT_George_Michael:On Below: Previsualisationofstageandscreen. main overheadrig. Left: BazHalpin’slightingplotshowingthe you couldseeonstageorthescreen, that’, inthattherewasnoconflictbetweenwhat the question,‘he’snotbowingviolinlike the blackscreenbleed-insneverovertlyposed This wasaparticularlygratifyingsleightofhand: show, andthenblendthemintotheshow.” very intrusivewerewetodoitliveduringthe musicians wecanshootanglesthatwouldbe largelystatic George likesandputitinlive.With into thegraphic:“We alsopre-shootstuff Shipman. Livecamerashotsarealsoinserted incredibly sophisticatedsoundtolight,”says a visualrepresentationofthemusic;itisan “Literally, pointsoflightarechoreographedto those slowmotionmoviesofcrystalsforming. adequate; sometimesit’slikewatchingoneof fractals ofcomplex3Dspatialshapesisbarely resembles oftencompletelyirregularexpanding synchronised tothesound.”To saythecontent station, everylittlebitofthatimagegrows example, agraphicthatresemblesspace very highlydetailed,”hebegan.“Thereis,for and afullcontentshowtocorral.“Theis Director RichieShipmanhassevenHDcameras wouldn’t youuseit?” concludes Walsh, “itticksalltheboxes;why something aboutacceptance.“As Isaid,” upon themselvestohavetheguystrainedsays prefer tobehoistedup.”ThefactChaostookit EREMICHAEL GEORGE 2011 TOUR SYMPHONICA epk lmnu fabrications aluminium Bespoke systems roof Outdoor truss Slick truss Fabrications Total sets Stage wants andisexplicitmakestheworkingprocess a hands-onartist;thefactheknowswhat it’s beenreallystimulatingtoworkwithsuch on therecentPeter Frampton tour. George With you mighthaveseensomeofthem(licensed) comes withmanypre-packagedvisualscenes; video andthengiveittoRichie.Oursoftware I dotheworkonaMacBookPro,renderout for metobehereandworkaroundtheguys; once aweekchangesareinvolved.It’seasier graphics. We takefeedbackfromhimandabout tour, butthistimehewantedhighlycustomised began. “Georgeusedapackageofourslast just licenceoursoftware,sothisisunique,”he though weworkwithperformers,normally Spectrum isonthetour:wespokebriefly. “Even off screen.Assuch,Paul BrowerfromSound The contentisanevolvingprocess,bothonand to achieve.Invariablyitworks.” how toeditvideoandheknewwhatwanted screen. Buthescrutiniseseverything,knows typical sourceforafourmilliondollarLED basically provideanAppforiTunes -notyour content. Imaginethat,hefoundtheseguysthat Sound Spectrum,whichgeneratesallthe really heavilyinvolved-itwashewhofound What aretheoriginsofcontent?“Georgeis Tools forcamera.”Andwhynot? his robustviewofwhat’srequired.“It’slikePro considerations ofartisticsensitivityinterferewith pragmatic directorwhodoesn’tlet what technologyisfor.” Shipmanisanentirely you thoughtaboutit.“Yes it’snaughty, butthat’s though youmightask‘where’sthecamera’if Simone classic produce areallyspiritedrenderingoftheNina a flatteryhefullydeservestohear. Georgedid Bradshaw’s mixwasfulsomefromallquarters; he’s everdone.”Infact,thepraiseforGary sounded beautiful.Hesingsbetternowthan easily inthemajority, weremoreforgiving.“He dragged alongbytheirpartners.Theladies, “boring” -thoughthesetendedtobeboyfriends enough pop’.Someevendeclaredtheshow dissatisfaction: ‘Too manysmokyballads,not concert-goers. Allexpressedthesame you understand)andspokeatlengthtomany after theDublinconcert(allinlineofduty, I visitedtwohotelbarsandariverboatsaloon them bothbut,formytaste,toomuchshade. A goodshowrequireslightandshade;thishas Conclusion our approachtovisualideas.” in quiteafewways;he’sforcedustoreinvent now wehavereconsidered.Hehaspushedus work. Someideasdidatfirstlookimprobable; a blueprintandifit’spossiblewewillmakeit software’s limitations,buthehaslaidout he’s nothamperedbyconsiderationsofthe easier. Hemightnotbeasoftwareengineer, so album concerts nextyear),tryhissadlyneglected sample beforeyouvisit(thereistalkofmore when itcamewasemphatic.Ifyouwantto was trulymonumentalinclimax,sothelight performance of voicing outaPA beforesoundcheck. and dynamicallyrigorousrecordingsidealfor it’s onetoaddyourlistofhighlyarticulate Songs ofthelastCentury Feeling Good Feeling Buddy canyouspareatime? :[email protected] E: www.trussing.com 5231 W: 772 (0)121 +44 5234 F: 772 (0)121 +44 T: and his : ifnothingelse, L & S - i December 2011

ontour

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