CONCERTS Copyright Lighting&Sound America February 2013 http://www.lightingandsoundamerica.com/LSA.html

52 • February 2013 • Lighting&Sound America Four-Part Harmony Revealing the many sides of The Who on the Quadrophenia and More Tour

By: Sharon Stancavage

he Who’s Quadrophenia Byrne, and on a wide variety of TV that look somewhat mod.” There are focuses on a young man who productions in the US and worldwide. three 8mm circular SL-pro 8 LEDs struggles with four personal- Once the Quadrophenia sequence and a 15mm Barae BR15 rectangle ities, each represented in is over, the band gives the audience that is 39'4" wide by 16'4" high, all Tperformance by a member of the some of its favorite songs. “Unlike provided by Montreal-based band. The second rock opera by Pete other bands, The Who always plays Solotech, the tour’s video gear Townshend, it was first performed in their hits, so everyone can enjoy supplier. “We had frames made for 1973. In 2012, for the band’s latest themselves,” the designer notes. the circular LEDs by Tait Towers [of tour, Roger Daltrey re-envisioned it as Kenny says that the production Lititz, Pennsylvania]. We wanted them the story of the band and those who design underwent several stages of to look like headlights, and I decided I have experienced the last half- development. “The shape of the set wanted something with a mirror, century with them. “This show is a went through varying forms, as it because, without it being lit, it would fabulous, intimate look at The Who,” does on every tour. Roger wanted to still be bright,” he says. says the band’s longtime production have the front of a motorbike or a The visuals were created by designer Tom Kenny, who has also moped, but that wasn’t really feasible Daltrey; producer and content worked with the likes of George for the production. The screen shapes director Colin Payne, of The Media Harrison, David Bowie, Jimmy Page, are just something [production Machine; and a team including Dan

Photo: Richard Termine Robert Plant, Eric Clapton, David manager] Roy Lamb came up with Hardiker and Neil Hetherington, of

www.lightingandsoundamerica.com • February 2013 • 53 CONCERTS

Zeroh, as well as Chris Rule and Des for the previous shows but crucially Quadrophenia itself: The pull of youth, Murphy. “Overall, Roger drew two were given total access to the entire growing through difficult periods, conclusions: Firstly, the need to move Who archive,” he says. The archival questioning, fighting, exploring, away from a narrator and guests on footage includes Townshend celebrating, deeply emotive, angry, stage [usually featured in productions smashing guitars during “Helpless and loving—these really came through of Quadrophenia]. Secondly, the Dancer;” The Who in an earlier incar- the films we saw.” desire to focus not just on the person- nation as the High Numbers in “The The sea is also a recurring theme alities of the original band members, Punk and the Godfather;” and a wide within the visual context of the show. but to add a new twist, the dimension range of historic news footage. “The sea has always been crucial in of time—The Who now on stage and Factories appear during “The Dirty Quadrophenia,” Payne says. “Not only The Who then on the screens,” Payne Jobs,” WWII headlines run during the is it reflective of the location of much explains. The mixing of the past and instrumental “Quadrophenia,” and a of the action within the story itself, it present is expressed dually through montage that includes content related represents the universal, the love, the archival footage of the band and to Princess Diana’s death and 9/11 is redemption.” The finale of historic footage. “We referenced all used in “The Rock,” Payne says. “It Quadrophenia, “Love, Reign o’er Me,” the excellent postwar footage put made total sense to use footage that also includes some stunning footage together by [graphic designer and tracks the development of the band, of rain. “The imagery is highly treated music video producer] Aubrey Powell very much along the journey we see in film—not CGI—and we really were inspired by the notion of absolute reality being filtered and highly artistic. The pixels shine like diamonds, and because the basis of the image is natural, it has a highly uplifting effect,” Payne says. While the visuals for Quadrophenia are thematic, the approach to the songs in the hits section is distinctly different. “We view this section as a constantly evolving, live experience— we have banks and banks of cool visuals, which we can adapt and VJ along with the band, depending on song choices, mood, and energy,” Payne says. “We can follow and enhance and, in this way, the video can become as flexible as any of the musicians.” Giani Fabricio, the show’s touring content director, uses an Avolites Sapphire media console working with four Avolites-Immersive Ai media servers. It’s the first time Ai has been out with a major tour. “Overall, the production needed flexibility. They knew that some of it was perhaps going to be preprogrammed with time code, but the band doesn’t like having the rigid structure of having to play with a click track and time code,” Fabricio says. When visuals and vocals of the late Keith Moon and John Entwistle

were added (to “Bell Boy” and Photo: Richard Termine

Both Daltrey and Townshend requested throwback lighting for the hits section of the show, specifically to 1973, the year Quadrophenia was released.

54 • February 2013 • Lighting&Sound America The three 8mm circular SL-pro 8 LEDs, supplied by Solotech, are framed with mirrors and integrated into the design to look like the headlights on a motorcycle, Daltrey’s original design concept.

“5:15”, respectively), it became comes to a situation in which, for the segments—aligned with the music. “I apparent that the show would need sake of everything being perfect and keep tight control over the speed of some sort of time code system. in synch, the artist gives up their live the clips, so that if the band drifts and “Some parts of Quadrophenia are on performance quite a bit, removing any goes a bit faster or slower, I’m ready time code, and that’s something that’s suspense from the show. These guys to adjust the synch,” he says. set up beforehand,” Fabricio notes. “I said, ‘No, we’re not going to do that. While Fabricio is handling the use the system to put it on timelines We’re going to do our thing, and we content at the front of house, there’s and then do the offset to get the right might take a bar out here, another another aspect to the video system synching, and that generally never one there, and I might just go into a backstage, he says: “There’s one changes. But the rest of guitar solo for 20 minutes, and you person doing all the camera cutting; Quadrophenia is mostly operated live. just deal with it.’ One reason they there’s another person who looks at There are never two time-coded bits gave me the job is that Colin wanted colors and calibration, the treatment one after the other, and it generally somebody who had a musical of cameras; another who operates switches from a fully live operated background—not just a programmer, the [Vista] Spyder, channeling the track to a time-coded one.” but also a musician.” different signals to the screens.” The The set “was a challenge to start One of Fabricio’s primary responsi- IMAG system includes four Sony with,” Fabricio admits. “I’ve done bilities is to keep the visuals—even cameras, a Barco FSN-1400 switcher, shows, with other artists, where it those in the non-time-coded and two Christie Roadster S+20K DLP Photo: Richard Termine

www.lightingandsoundamerica.com • February 2013 • 55 CONCERTS

In an effort to retrace the past of The Who and its audience, the Quadrophenia section of the show includes a wide variety of historic news footage, from World War II to Princess Diana’s untimely death.

projectors for the left/ right screens. D visualizer and the live performance- Behind the lights Although there are numerous content/ driven user interface with the corre- Discussing how he worked to blend IMAG configurations, it is less sponding hardware, the Sapphire the lighting with the video, Kenny random than one might expect. “If media console,” Fabricio says. “What I says, “I learned that you have to we’re going to put camera feeds on find most interesting about the system complement whatever color is in the central set screens, it’s going to is that it is built with a node-based there.” During Quadrophenia, Kenny’s cut out content, so it is carefully visual programming language, palette is fairly subdued and includes choreographed,” Fabricio says. Salvation, which means that, besides steel blues, lavenders, and ambers. The signal path between the front having the typical interface with all of That changes somewhat when the of house and video world backstage its options, you can also access the band goes into its hits. “I keep it very is complex, and it includes front-of- background of it all and reconfigure live and very electric, because it’s all house sound. Fabricio explains, the system to fit your needs, which is down to what Pete and the band do “SMPTE time code comes from the not something you can do with your every night,” he adds. ADAT machine on stage to Robert typical software. Visual programming Both Daltrey and Townshend had [Collins, front-of-house sound languages are great because they give input into the production’s lighting engineer]; from Robert, it goes to my even nonprogrammers the ability to aspects. Kenny says, “Roger rang me MIF4 MIDI time code interface. That’s create new patches or even alter the up and said, ‘First of all, I want you where SMPTE is converted to MIDI basic architecture of the software with not to light it like a Who show; think time code and goes to my servers to just minimal training. For media of it as dark and moody.’” Also, he trigger the video clips. The video servers in the entertainment industry, recalls, “Roger said, ‘I want you to signal then goes out of my Ai servers, this is particularly interesting, as an think of 1973, and basically light it through the DVI matrix, and to a DVI experienced user can reconfigure the theatrically—think PAR cans.’ to fiber transmitter, which sends that system on the spot to fit the specific Basically, we’ve gone back to 1973 signal behind the stage to the Spyder, needs of the show without needing to using 2012 technology.” He adds, from which the Solotech guys route it contact the original software “Pete said, ‘You’re going to do your to the correct screens.” programmer or even quickly create traditional Tom Kenny Who lighting, The key to making the system work content using generative video aren’t you?’” That style is in evidence is the Ai media servers. “The Ai system patches without the support of a in the latter part of the show.

is perfect for the job because of its 3- graphic designer.” The lighting rig, provided by Photo: Zeroh 2012

56 • February 2013 • Lighting&Sound America PRG, is extremely streamlined. It The real mix As a vocalist, Daltrey has always includes 36 Philips Vari*Lite VL3500 Robert Collins, who handles front-of- had the reputation of someone who Washes, 18 Martin Professional house audio, has worked with The isn’t afraid to let go and scream. To MAC III Profiles, 24 Mac 2000 Wash Who before and with Daltrey and handle these vocal machinations— XBs, 24 Coemar Infinity Wash XLs, Townshend on solo projects. He says most notably in “Baba O’Riley” and and 24 Mac Auras. The latter, Kenny simply, “I just love mixing.” To mix “Won’t Get Fooled Again”—Collins says, “is the most beautiful light in The Who, he has a DiGiCo SD7. “It’s keeps it simple. “No big compressors the world. They are absolutely a brilliant desk,” he adds. “Unlike on Roger. I don’t like squashing stunning. The color from them is the most digital consoles, it’s very things. I use a very subtle TLA; best, the absolute best. I’ve used musical, and for me it mixes like an they’re so smooth, and actually my them on the MTV Video Music old analog desk.” This is Collins’ first finger is the best compressor.” Awards, and basically I use them as time touring with the SD7. “I had no From an aural standpoint, much as I can.” The Auras also reason to use it earlier, as my old Quadrophenia runs the gamut, have another claim to fame. faithful D5 was doing just fine,” he encompassing quiet moments like the “They’re the only lights that have says. Speaking of the SD7’s capabil- plaintive cries of Daltrey asking “Is it ever been downstage of The Who ities, he notes, “It will run a small me, for the moment?” during “Dr. that they haven’t kicked over on country if you want it to.” Jimmy” to intense moments like the stage,” he says. As for processing, Collins isn’t end of “Love, Reign o’er Me.” Collins The lighting rig also includes 24 necessarily a fan. “We strive for a gives the band control of that. “The SkyPan 5K open-face tungsten flood- natural-sounding show,” he says. He dynamics are huge for them. They lights from Mole-Richardson on the uses a TC Electronic M6000 plus two should be huge,” he says. “On the vertical trusses upstage. “I wanted Summit Audio TLA-100 tube leveling guitar, Pete likes to go quiet to loud, something that looked like a amps and four dbx 160 XL and when somebody wants to shout, motorbike bulb, and they fit the bill,” compressors. “The rest is SD7- they shout. And it should be louder. Kenny says. “I’ve used them every- internal.” While many front-of-house It’s up to them; it’s not up to me to where. It’s a beautiful old lamp. engineers won’t leave home without decide what’s louder.” They’re like a candle; there’s Waves, Collins says passionately, On stage, Collins has a variety of something very beautiful and “No. Absolutely not. I don’t even use microphones, most of them quite attractive about them.” Snapshots.” familiar. When asked why Daltrey isn’t There are also numerous four- light Mole-Richardson Molefays and Martin Atomic strobes, which give the latter part of the production the traditional The Who/Tom Kenny big- rock look. “I just wanted to liven it up,” he says. “In Quadrophenia, I’m holding back all night, so the video screens are the star then.” The daily needs of this aspect of the production are maintained by lighting crew chief Corey Tom and his staff. The console of choice for Kenny and his lighting director/ programmer, Jim Mustapha, is an MA Lighting grandMA1. “I’ve programmed in very normal states,” Kenny says. “They’re not beamy, because we don’t have smoke, due to Roger’s allergies. They have very nice, colorful, gorgeous looks, but then I take over on every song

Photo: Richard Termine where the band takes over.” Touring content director Giani Fabricio, production designer Tom Kenny, and lighting director/programmer Jim Mustapha.

www.lightingandsoundamerica.com • February 2013 • 57 CONCERTS

using the newest, most expensive dimensional band like The Who, to. “Subs are overused, and generally vocal mic, he replies, “Why? Roger is Collins has a simple answer: “Listen we tend not to go that heavy with the only going to throw it around on to the sounds that you’re reproducing sub sound,” he says. “I—and the stage and smash it into something.” and let things sit there so you can band—want a really big sound but The mic that Daltrey swings hear them.” It’s also similar to his not a really loud show. And that’s the around on stage is the Shure SM58. advice for newer members of his art of it.” “We have a case of them for Roger, profession. “I try to tell the young As the show ends, Daltrey and and he’s not going to change now. mixers coming up—go and listen to Townshend perform a touching and He’s been using them for years,” the instrument, and reproduce the intimate song called “Tea & Collins notes. In fact, the SM58 is the sound of it. Don’t have it in your head Theatre”—the two passions of vocal mic of choice on The Who what you think a saxophone should English gentlemen. It is just another stage. Townshend and his brother, sound like. Go and listen to the actual personal moment of a very personal Simon, who sings vocals for “The instrument.” show that traces the history of the Dirty Jobs,” are also on SM58s. For the PA, a d&b audiotechnik J- musicians on stage and the collective As for the rest of the stage, there’s Series line array is provided by Eighth history of the audience as well. a nice range of brands represented. Day Sound Systems, of Cleveland. Kenny, who is out with the tour, “It’s a mixture of Audix and AKG on There are 18 front cabinets, 12 side leaves the front of house to head off the drums—there’s an Audix D6 on fills, and six J-Series subs. The main with the band. “Isn’t it a good bit of the bass drum, a D4 on the toms, an hang has a mixture of J8 and J12s fun?” he asks with a smile. AKG C414 on head, an AKG C 451 B with J12s on the side hang. There are The Who continues the on high hat and ride, and, on the also three B2 subs on each side of Quadrophenia and More Tour across snare, a Shure SM57 on the top and the side, and the back stage hang, if the United Kingdom with additional an Shure SM80 for the bottom.” used, is loaded with Q1s. Although shows in France and the Netherlands When asked about the key to Collins could have gone heavy on the through July 5. mixing a very musical, acoustically subs and loud overall, he chooses not

Call 800-356-5844 Follow Us Call a Sales Pro or visit fullcompass.com Today! Request your FREE Leading The Industry For Over 35 Years 524-page catalog