CONCERTS
Copyright Lighting &Sound America April 2009 http://www.lightingandsoundamerica.com/LSA.html
50 • April 2009 • Lighting &Sound America Copyright Lighting &Sound America April 2009 http://www.lightingandsoundamerica.com/LSA.html
The Pussycat Dolls’ new tour provides show-business glamour on several levels
Written and Photographed By: Louise Stickland
exy, streamlined, slick: That’s the high production values, is an on-tour The structure was fabricated in Pussycat Dolls show, which element that production/tour manager the U.K. by Wakefield-based wowed Europe—the group’s second Bryan “Froggy” Cross is adamant Litestructures; the tour also made headline tour of the territory— about maintaining. use of Litestructures’ production while promoting the new album, A total of 45 Doll Domination crew rehearsal facility. The company also Doll Domination . members took to the road in Europe, built a 49.2' wide by 33' deep and 8' The entertaining, high-energy including 10 from the U.S. This report tall structure to fit onto touring house performance fuses effortless dance is based on the European tour; the stages. Other stage features included routines with a pumping mix of Pussycat Dolls are currently in the five scissor lifts from Litestructures’ musical genres—pop, rock, hip-hop, U.S., opening for Britney Spears. rental stock, the tops of which were cabaret—taking the girl-band After that, the group will return to this specially made to accommodate a set phenomenon to new production show for dates in Australia and Asia. of motorbikes and dancing pole props. heights. Attracting a wide-ranging, Warner and Cross have worked arguably 80% female, demographic, Cued for surprise together on numerous projects, and the PCD show embraces the concepts Cross and the Pittsburgh-based there’s a great creative synergy of independence, character, and lighting designer Scott Warner between them. Both have worked at sassiness—it’s unashamedly co-designed the set, which consists many different levels of the industry— good-looking and assertive. of double-decked walkways, with as stagehands and designers and A warm, friendly atmosphere was three sets of custom staircases made engineers—so they also know how to the first thing to hit me when walking of small aluminum frames and make their creations practical, into the Manchester Evening New s polycarbonate makrolon tops for workable, and tourable. Arena–despite the sub-zero transparency, allowing a submerged Warner has worked with PCD for temperatures outside—and this, bottom section of the center-stage two-and-a-half years. He has carte along with a good sense of fun and LED screen to show through. blanche as far as the lighting design
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is concerned, with a basic Always keen to embrace new the dynamics, and enabled the units requirement being to produce a large, technology, Warner wanted to try out to be spread out on many different action-packed show that keeps Robe’s new Digital Series on this tour, planes, adding serious perspective plenty of visual surprises coming right so HSL purchased six Robe and depth. Each over-stage Octopod until the final number. DigitalSpot 7000 digital moving lights, was loaded with six Robe ColorSpot The internally lit PCD aluminum 36 REDWash 3•192 LED wash lights, 2500E ATs, three Robe REDBlinder globe—flown at center stage— and 12 REDBlinder 2•96s to add to 2•96s, and three Martin Professional following along with the “Doll the company’ already extensive Robe Atomic strobes. Domination” theme—was one of inventory. The DigitalSpot 7000 The front truss features five Warner’s concepts, together with an combines a digital projector and two Vari*Lite VL3000 fixtures mounted on idiosyncratic trussing design based RGBW LED modules. The special brackets, with the pan and tilt on octopods; he also specified the REDWash—RED stands for “Robe functions disabled, allowing their use use of spheres to bring structural emitted diodes”—provides a rectan - as followspots. Warner controls the integrity to the space and to avoid a gular light field with manual control of intensity and other parameters from feeling of uniformity and straightness. beam spreads. REDBlinder is an LED his grandMA full-size console—all the All lighting, trussing, and rigging version of the eight-lite Molefay. spot operators have to do is point. He (for lighting and PA) equipment, “It was a logical move for us,” says wanted these units placed on the along with a 13-way Kinesys Oates. “These new Digital Series front truss to minimize spillage across automation system and Vector products are going to get spec’d the set and keep the beams neat and control, was supplied by the increasingly for tours and events, as tight on the girls. An additional front- Blackburn, U.K.-based rental their real potential company HSL, working with the is realized.” Pussycat Dolls for the first time. Warner also used HSL also designed the eight-faceted 60 Robe Octopods, which were constructed ColorSpot and by TFL. The project was managed ColorWash 2500E for HSL by Mike Oates. AT automated There are four 2.5m Octopods in units on the rig. It total, two hung over the stage and was a relatively moved on the Kinesys system, and modest fixture two static units dead-hung below the count for an arena front truss. The 4.5m circular truss show, but the resides upstage center; it also moves pod-based design with a smaller semi-circular static really enhanced truss positioned slightly downstage. Upstage left and right are two heavily loaded 20' sections of Tomcat SwingWing trussing flown diagonally; the setup is completed with front and rear trusses. All of the over-stage elements are sub-hung from a T-shaped mother grid. Warner is a big fan of Robe lighting products. He first used them at a Pussycat Dolls gig in St. Petersburg, Russia last year, and, ever since, they have been his moving lights of choice. “I was really impressed with the brightness and the features,” he explains. “There were other moving lights on that show, but the Robes absolutely ran away with the show— they were so intense.” The globe was built by ShowFX and is flown on the Kinesys system.
52 • April 2009 • Lighting &Sound America The central screen measures 21.5' wide by 12' deep, and, beneath the stairs, is a lower section that’s 21' wide by 4' high. of-house followspot is used to catch Robe REDFlash strobes and flown on 2500s serve as cross-washing Nicole Scherzinger, the lead singer, if the Kinesys system. shin-busters at stages left and right. she sashays off limits during the lively The SwingWing trussing runs each Warner uses the REDWashes to performance. Below this are the two contain eight REDWash 3•192s, four produce an extensive range of colors — static Octopods, each with six Robe REDBlinder 2•96s, six ColorSpot from rich primaries to delicate ColorWash 2500s, four Atomics and 2500s, and eight Atomics. Upstage of pastels—washing the whole stage four 9-lites. Below these are the Robe the center-stage LED video screen is and set area. “They are fantastic,” he DigitalSpot 7000 DTs. the rear lighting truss, with another 12 says; “they’re very bright, with an amazing color range.” He comments that the units also have a proper “The internally lit PCD aluminum globe—flown white—still a rarity for an LED at center stage—following along with the ‘Doll fixture—and a feature that Robe has worked hard to produce after listening Domination’ theme—was one of Warner’s to user feedback. concepts, together with an idiosyncratic trussing Warner adds that he also loves the design based on octopods; he also specified REDWash’s rectangular light source, especially when juxtaposed with the the use of spheres to bring structural integrity spherical sources on the rig; he notes to the space and to avoid a feeling of uniformity that these units also look very good and straightness. ” when combined with the REDBlinders. The designer controls all lighting from the grandMA full size console, The semi-circle is rigged with three Robe ColorSpot 2500s, six strobes, with another running in full tracking Robe ColorSpot 2500s, and the full and eight REDWashes. back up mode. The grandMA is his circle has four more, plus eight The floor is relatively clear of lights, console of choice; when he started REDWash 3•192s. A globe, embedded specifically to preserve the clean lines using it two years ago, he liked it so with a series of 30W bulbs on 13 of the set and the open feel of the much that he bought one for himself — dimmer channels, spelling out the performance environment. Eight and it is carried on the tour. He finds words “Pussycat Dolls,” was built by REDWashes take up the footlight it easy to use and great for on-the-fly Los Angeles-based ShowFX. The position, spaced out across the front operation. There are at least two globe is also internally lit with two of the stage, and four ColorSpot songs in the set—“Halo” and “When I
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Grow Up”—that are improvised each Belfield, Jason Dixon, Rick “Avo” Canon lens, with two hand-helds in night. HSL also supplied a grandMA Butler, and tour rigger Chris Harris, the pit, each fitted with 18 lenses. A light for use as a technical desk, who is also flying Britannia Row’s PA fourth remote cam was secured on located in the dimmer area. as part of his HSL rigging duties. top of the riser on the left, beside one One of the HSL crew’s biggest of the drummers. challenges was the time frame—with Video dolls Elizando cuts the mix using a a complex rig comprised of many The show’s live video is directed by Pinnacle PDS 9000i switcher. He likes component parts, all of which need George Elizando; gear was supplied GVs as a personal choice, but states precise rigging. Only a short way into by Nocturne Productions. Cross matter-of-factly, “This is the kit that the tour, they had honed the task explains that the decision was taken was supplied with the rig, and that’s down to just four-and-a-half hours. to bring the video production from the just fine—I make it work!” “We did a serious amount of pre- U.S. because of Nocturne’s proprietary Two Doremi hard drives store the planning to maximize the efficiency V-Lite low-resolution lightweight colorful, lively playback footage, and smooth running of get-ins and screen, which has a silver finish in which was produced by the Los outs,” says Oates keeping with the metallic vibe of the Angeles-based firm Stimulated and One of several time-saving set. The seven-week European touring seamlessly woven into the set via inventions was the construction of a period made it financially viable. time code generated from Cross’ Pro dolly, specially tailored to fit in all The central screen measures 21.5' Tools machine. Eighty percent of the dimmers and distro units. This is wide by 12' deep, and, beneath the songs feature playback footage forked off the truck each day and stairs, running concurrently, is a lower primarily appearing on the onstage positioned stage right, only requiring section that’s 21' wide by 4' high. screens, with the IMAG generally mains connection to get started. Two side IMAG screens are both fed concentrated on the sides, In Europe, HSL supplied the crew with a single Sanyo projector; all occasionally bumping over onto to look after Warner and enjoy a bit of screens are 16:9 aspect ratio. the LED at selected moments. Doll Domination , chiefed by Eugene The three operated cameras were “It’s a relatively straightforward Benavidez, who is also the Kinesys also set to 16:9—all Ikegami 45s, show to mix,” says Elizando, whose operator. He was joined by Dan Tiley also supplied by Nocturne. One is main objective is to ensure that the (dimmers), Kinesys tech Steve stationed at front-of-house with an 80 girls can be clearly seen onscreen—
The show features more than 300 pyro effects across eight songs, and a ten-way, DMX-controlled gas flame system.
54 • April 2009 • Lighting &Sound America a time—possibly strengthened by working with plenty of girl bands— he’s mixing both front of house and monitors, even while serving as production and tour manager; if that’s not challenging enough, he’s also the Pro Tools engineer. That’s in addition to co-designing the set with Warner. Based in Wyoming, Cross has worked with the Pussycat Dolls for four years; he has a wicked sense of humor and a great knack for team building. “Naturally, it’s a challenge, but if you’re smart and organized on the advancing and pre-planning, and utilize the technology available, the The crew honed down the load-in to only four-and-a-half hours. multi-roles can be combined and you can work really efficiently,” he says, no tricks, just in a straight, fast-cut, Effects include a spectacular adding, with one of his mischievous and bubbly IMAG format in keeping waterfall tumbling off the downstage grins, that this approach also with the pace of the show. Scherzinger edges of the two SwingWing trusses minimizes any potential tour manager - receives marginally more camera and a set of seven-second gerbs, production manager disparities. attention, with the rest of the onscreen which fired off the downstage rim of The group sings live to 12 channels action equally split among the others, the stage, along with many other of Pro Tools tracks, accompanied by which requires “some accurate time effects—an eclectic combination of two sets of electronic drums; the management,” he explains. It’s his first time working with Scott Defying the stereotype that men can only Warner, but he mentions that they “ have struck up a good creative concentrate on one thing at a time—possibly rapport, ensuring their two mediums strengthened by working with plenty of work slickly in synch. girl bands—Cross is mixing both FOH and
Fireworks on stage monitors, even while serving as production and With over 300 pyro effects across eight tour manager; if that’s not challenging enough, songs, and a ten-way DMX-controlled he’s also the Pro Tools engineer. That’s in gas flame system, well-executed pyro cues are an another integral aspect addition to co-designing the set with Warner. ” of the show’s high-glamour visuals. Explosives and expertise were mines, flashes, and jets. Pyro Junkies audio control is built around the provided by Pyro Junkies, the U.K.- custom-designed trays to keep all the DigiDesign platform, with a based indoor show fireworks effects properly contained. DigiDesign Profile console at the specialist firm, looked after on the The cues are all very specific, so heart of the rig. This is owned, along road by Steve Britton and Dan Mott. precise firing was required; they are with the Pro Tools suites, by Cross. The effects were all supplied by the achieved using a Heritage F60 desk, He has the audio files supplied in company’s manufacturing arm, Wells. which is specially built for the pyro original format, and, from there, The gas flame system is the latest and effects industry. programs and manipulates them to from the German manufacturer TBF, work in the appropriate rooms, and is run from a Jands Vista lighting One-source sound simultaneously generating any console. The power distribution to Cross, who mixes from side stage, is necessary time code in Pro Tools. the system was specially designed most definitely a man who believes After that, it’s down to the girls by Pyro Junkies and is totally in multiplexing. to perform, which they do with independent of the Vista, with Defying the stereotype that men great attitude and strong, isolation via a “dead man’s handle.” can only concentrate on one thing at confident stagecraft.
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The show is designed to provide plenty of high-energy pop fun to the Pussycat Dolls’ largely female demographic.
He uses a series of plug-ins, Butterflies are used on each side. The The drummers are using Yamaha primarily Waves-based, with a system is powered by Outline amps— DT electronic drum kits, “absolutely Neumann KU 100 binaural head at four racks per side—making a neat the best-sounding electronic drums FOH as his “ears” in that position. setup that is fine-tuned each day by out there by far,” says Cross, who The KU 100 is a binaural stereo micro - sound supplier Britannia Row’s front- wanted something as natural and phone resembling the human head, of-house systems tech, Adam Smith. real-sounding as possible. with two microphone capsules built For EQ, Cross used the Waves Cross’ world includes a large 218 into the ears. When listening through plug-in on the Profile, inserted left and bass unit right behind his console, high-quality headphones, it gives the right, along with Lake DLPs for system along with two very funky leopard illusion of being right at the scene of processing. “It’s a simple, clean digital print-covered listening wedges at the the acoustic event. This can be system,” he comments. The only time sides, plus several other leopard print referenced to his wedges, ears, near- the audio signal goes analog is when accessories—including a volume foot field wedges, or the Waves analyzer. it comes out of the speakers. pedal. He admits to having a bit of a In the quest to preserve those clean Mics are a combination of leopard print obsession—all in the set and stage lines, Cross wanted the Sennheiser and Neumann. The girls name of “keeping it fun”—which is an PA to be nearly imperceptible in a use Sennheiser 935 hand-helds, essential that this whole tour seems physical sense, so, for this reason and switching to headsets for a couple of to know how to do in great style; for also for its sonic qualities, including songs. They run a Sennheiser G2 IEM example, all of the Pussycat Dolls’ excellent coverage and imaging, he system for the girls and the drum - flightcases are finished in pink, with specified an Outline Butterfly system. mers–who internally mix themselves, leopard print interiors. The main hangs comprised 16 each sending Cross a left and right Obviously it’s a primary Butterflies a side, with three flown mix, with two L-Acoustics ARCs and audiological objective to get the girls’ subs and 12 subs on the deck, plus two 18" subs as side fills, injecting a vocals loud and clear above the mix, side hangs of another 16 Butterflies, bit of air movement for the dancers. but having perfected this to a fine art, completed with a rear hang of eight There’s a total of 26 channels it all appears to happen with a L-Acoustics ARCs a side. For the running into one layer of the console, smile—as effortlessly as the rest of venues needing delays, eight with 10 channels of FX returns. the production.
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