May Cover 1:Cover 06/05/2009 16:43 Page 1
May 2009 entertainment, presentation, communication www.lsionline.co.uk
Snow Patrol Live at Liverpool Echo Arena
PLUS: ProLight&Sound in review; 30 years of EML; the new Hull Truck Theatre; Technical Focus - Chroma-Q’s Color Block 2; Rome’s anniversary projections; Rigging Call; Audio File and more . . .
Kings Place Grand Mosque Visually Richie . . . BME @ the O2 21st century über-flexibility Lights go on in Abu Dhabi CT’s solution for Lionel Inside the new attraction
L&SI has gone digital! Register online FREE at www.lsionline.co.uk/digital Snow Patrol:On tour.qxd 06/05/2009 11:50 Page 28 Snow Patrol nwPatro Snow Sheffield, Manchesterand Londonaregreat. ThenewO2Dublin, not manyarenas that areperfect-CardiffandtheSECC aretoolow, Any goodpoints? “Yes, there arepositives,andtobefair, thereare architects aresupposedtobespecialists inthistypeofbuilding.” a hundredtimesbetter. Howdidtheygetitso wrong? Andthe Then outitcame:“SheffieldArena is 17yearsolderandit’s needs openingup.” advance. That’sjustabittoosecure foraneventsvenue-security independent ADSLavailableandyouhavetobookittwodaysin behind afirewallandcan’tgetoutofthebuilding.Thereisonlyone means we’realleffectivelyinthesameoffice.Butherestuck into theband’smanagement,QPrime,inLondonandNewYork -it work overaVoIP [Voice overInternetProtocol]system;Ilinkstraight and space,buttheInternet,it’swalled-offtohell!We doalotof “Backstage isfine,”continuesRoberts,“plentyofdressingrooms there areeasierloadbays. the stageatForet NationalBrusselsinthebadolddays,but underground freightzone.It’snotquitelikebackingwaydownto Truck accessisnottooclevereither, downintoanawkward hands toourinandoutkeeptimeschedulesbecauseofit.” making loadingandunloadingdangerous.We hadtoaddstage some unknownreasonthegroundyouparktruckonissloping, the trucksdownarampasusual.ThatwouldbeOKexceptthatfor large flightcaseorsetdollyaround.Thismeansyouhavetounload there is,butit’sonlytwometersdeep,notenoughtomanoeuvrea there areproblems:theloadingdockisajoke-isn’tone.Well, “There’s nocompromisetoourshow, everythingfits,andeasily. But loaded attherear, butit’snotaproblem. house gridherewhichisgood.Ourshowhasafairbitofweight Court andTheEmpire,thisisafantasticbuilding.There’sbig got apropervenue;afteryearsofcrammingshowsintotheRoyal “Coming asIdofromStHelensI’mthrilledthatLiverpoolhasfinally manager Rob‘Wob’ Robertstogetanend-userviewofthevenue. new memberoftheArenacircuit.Istoppedofffirstwithproduction I sawtheshowatLiverpoolEchoArena,myfirstvisittothisrelatively Production offering toliftthespirit.It’sstirringstuff. that thiswasnoordinarypopsong,butanalmosthymnal Leona Lewis’ssoaringrenditionof‘Run’andacknowledge love songsinthesenseofathree-minutesingle;think Patrol songsmightsingabouthumanemotion, butthey’renot rock androlllesspop’.Theydon’tneedtoworry:Snow to onthisvisitmentionedthatthebandwantedbe‘more From productionmanagerdown,everycrewmemberIspoke words &picturesbySteveMoles in whichlightingandvideoelementsworkperfectsynchronicity. Snow Patrol’s showatLiverpool’sEchoArenawasevidenceofaproduction l O tour.qx :On 60/0911 06/05/2009 d : 50 Page 29 animation.” we triedjustdidn’t work.Splinter, friendsofBlue’s,producedthe thank AcreJeanfor findingtherightmaterialforus, the firstgauzes It’s abigfinishand requiredsomeexperimentation; we haveto a Trevira scrimreleasedacrossthefrontofstagefromaKabuki. commissioned film.Thefilmisprojected fromfront-of-house onto Lightning Strikes,andisaccompanied by16minutesof outstanding, thoughthatwastheband’s idea.It’sathree-partsong, Dave Sherwinhaveachieved;theanimation fortheencoreis “The showitselfisverygood.I’m proudofwhatBlueandLD mini-grid upthere.That’stheproblem,”Robertsexplains. move, controlledbyaKinesissystem,sowe’vegotourown fromXLVideoandfivePodsO-lite ofVari*Lites Theyall fromHSL. box weighs13tonnesasadynamicload,it’seightofBarco Why willtherigprovetoolargeforGermanvenues?“Theback Germany, butit’stakingsomeworkingout.” stage. Thisisthesignaturelookwewanttomaintainevenin hall, butwillprovideImagtothosesatthesidesandrearof these screensback-firing, thatisthey’llbeblacked-offtothemain occasionally. IntheO2,wherewe’vesoldseats270°,we’reusing little goesonscreen‘asis’.We dousehouseBlinkTVscreens is shooting,andthenRobHaddowdrivesthroughCatalyst;very and stockimages,we’reusingwhatBlue[Leach,cameradirector] heavily drivenbythevideo;wherenormallythere’dbelivetoscreen the 6,000seatermark.We’ll takeaBrigforthat.Theproductionis followedbytwoweeksinGermanyatsmallervenues,around UK, What abouttheproduction?“Thisisasix-week schleparoundthe new OlympicStadiumbeanybetter?Rantover! London’s so difficultaboutsatisfyingthepracticaldemands?Will compared say, toaBarbicanorCopenhagenOperaHouse; what’s Stadium. Thesearenew-builds,relativelysimplestructures stage theirLondonshowsatTwickenham andTheEmirates Wembley Stadium,justaskyourselfwhybigbandsnowchooseto couldn’t evengetthetruckentrancerightheight.Asfornew venue. Whathappened?DespitetheinputfromFisherPark, they Docklands Arena-intoa21stcenturymultipurposeentertainment authoritative requirementstomakeanewsportshall-theproposed Jonathan Park wereapproachedviaHarveyGoldsmithtoprovide unforgivable. I’moldenoughtorememberwhenMarkFisherand linen airedinpublicbutfranklywhat’sstatedhereismanyways This isallusefulinformation:buildingownersmaynotliketheirdirty bleachers.” it’s aseatedshowthentheFOHpositionendsuphalfway bad too,ittakessixmenabouttwohourstoputthemultisin-andif amount oflandaroundthebuilding.TheDublinFOHsnakerunis space forfourtrucksandthreebuses,butthat’sjustthelimited the rebuiltPoint isnottoo bad;parkingisrestricted,justenough Lighting & Sound - May 2009 ontour
29 www.lsionline.co.uk Snow Patrol:On tour.qxd 06/05/2009 11:55 Page 30 tour on
Sound a bit ugly, but we travel the boxes in two There has been a change front-of-house blocks of thee, ready-rigged, so it’s not too since the band last featured here. Mark time-consuming to put up.” Hockem didn’t Carolan has taken over the faders from quantify the gain of this configuration, but it Snake Newton, and he’s brought Skan PA was possible to experience the evenness of with him. I mention this as Roberts singled low-end coverage he alluded to earlier - out Skan’s system tech’, Paddy Hockem, for presumably this curvature was part of it. special mention: “I’m very impressed with him, his attitude is outstanding. Mark lets him You mentioned not using the L-Acoustic LA8 set the rig each day, leaving him free to racks? “We put six amps in a rack instead of focus on front-of-house.” their three; it means I cover a whole arena with just four racks a side. Skan also star out So I spoke to Hockem first: “It’s a V-Dosc the Cat 5 data between amps, instead of system,” he began, “and we have the new daisy-chaining, so if you loose an amp you SB28 Subs and LA8 amps, though not in the don’t necessarily loose the whole system. L-Acoustic racks.” Let’s talk subs first, Signal comes out the desk, Apogee Rosetta I ventured. converts A to D, then it goes to Dolby Lakes which, to be honest, we use as a graphical “We have four on centre on the floor, one system EQ. I do have XTAs on the PA which reversed for cardioid mode” (this centre floor I use for setting time delays and house EQ.” group are all stood on their narrow ends, side by side), “with three stacked on their How did you come to take over the reins with sides each side beneath the main rig, and Snow Patrol? “It’s largely to do with six flown each side. The old 218 was a management. Q Prime, who look after Snow disaster, these are much better, the Patrol, also represent Muse in North combination of flown and floor array makes America.” Carolan has been Muse’s house it really easy for me to get smooth coverage. engineer for many years. “Some of the band I’m surprised how well the flown stuff evens had seen Muse so it kind of came from it all out.” them.” Now that’s good to learn. “Yes, apart from the fact I’ve just installed an SSL at my There is a small centre hung line array of studio in Dublin.” Carolan has Suite Studios dV-Dosc - a vocal lift perhaps? “No, it’s there in Dublin to think about these days, “but to fill the front rows specifically, though of I have an engineer, Danny Conway to look From top: course we have front-fills on the stage, but after it for me while I’m away.” Rob ‘Wob’ Roberts, PM. they never get beyond the first two rows. The cabinets alternate with the left and right part Did the FOH transfer push up any FOH engineer Mark Carolan (L). of the full mix, so Mark can still get some unexpected encounters? “First thing, the Catalyst operator Robin Haddow (R). spatial panning effects across. It gives that band had already been in rehearsal. I did
online.co.uk Lighting designer Dave Sherwin. part of the crowd a better sound image too.” a lot of promo’ shows with them and took their existing structure; I used that period to Skan PA system tech’ Paddy Hockem (L). Hockem adds: “I forgot to mention, there’s learn their dynamics. Tristan (Farrow) their Tristan Farrow, monitor engineer (R). a slight curve to the flown SB28s, it’s monitor man was already in place when www.lsi something Skan developed. It’s achieved I arrived. Since then I’ve adapted things to with ratchet straps at the moment so it looks my point of view; Nathan [Connolly]’s guitar
30 Lighting&Sound - May 2009 nwPatro Snow less seatsforsale.ApotentweaponagainstthepaucityofMP3 indulgences, theaudiencesharesbenefit,evenifthereareafew bean-counters. Andweshouldnote,whenabandmakessuch which isrefreshingtohearinabusinessincreasinglydominatedby behind thebandinindulgingtheirpreferenceforMark’shandiwork- show atCardiffpreviously, butonlytosaythatmanagementwere Roberts hadcommentedonthe87seat-kills he’dneededforthe here theextraroomittakesdoesn’tmakemuchdifference.” house racks.ButIlovethesoundofXL4andwithsixracksout tour toAustralialaterintheyear, thoughI’llstillbetakingmostofmy I havedevelopedaDigidesignProfileset-up forwhenwetakethe XL8, andaPRO6forthatmatter. I’mnotaversetodigitalmixing, “I liketheMidasXL4forvariousreasons.I’vehadaplaywithan happy tomovestraighttheFOHset-up, andhisdeskofchoice: Having alreadydiscussedthePA systemwithHockem,Carolanwas replaces anSM57-nothingwrongwiththem,justamatteroftaste.” personal tasteI’veputaNeumann105onthesnarebottom:it but hedealswiththeincreasedHFsensitivity. Asamatterof Farrow] onthatdecision;there’sanissuewiththewedgesup there, I hadtobesensitiveTristan’s needs[monitorengineerTristan on vocalsnowhasaNeumann104togettherichnessofhisvoice. Condenser, andmuchmoretolerantofhighSPLs.Gary[Lightbody] in general.For guitars,theresponseismuchsilkierthana “The Royerisaribbonmic.IuseitforMuse,I’mfanoftheirmics the detail. you heardsuchanadjectiveusedaboutguitars?Hedoesseekout You cantellimmediatelyCarolanisastudioman:whereelsehave guitars infact.It’sjustgreatforcatchingthosedifficulttimbres.” has awiderange,soIputRoyermicrophoneonhim-allthe l O tour.qx :On 60/0911 06/05/2009 d : 55 Page 31 level. Someofhisvolumereductionsarebreathtaking.Like Carolan ridestheemotionalrollercoasterwithstrongvariationsin No shrinkingvioletsinthisperformance,andtruetohisword, band’, soyouhavetokeeptheballsofitwhendemanded.” in thedetail.Theotherthingisband’sstateddesiretobea‘rock question ishowtoachieveplacement.Iusethestereowidthlayer from Muse.“Here,therecanbesevenpeopleonstage,the aware ofisthedensitymusic.”You’ll haveexperienceofthat it downthenforevengreaterdramaticimpact.AnotherthingI’m seeing themgoquietinanticipationofaparticularpassage;I’llturn moments. SomesongsI’mturningitdown,I’llwatchtheaudience, It’s atheatricalshowinitsemotions,it’simportanttoamplifythose besectionalaboutsongs. have towatchhowyouuseyourSPL, the MasterFader iscritical-alotofthetimemyhandthere. You And howisyourattentionfocussedduringtheshow?“Awareness of all theinstruments-andthenassemblemix.” a Distressor;theDIsareAvalons. Myaimistotakeatrueimageof and floorToms; itjustextendsthereach.Everythingacoustichas “Yes, ithasn’tbeenreplaced.IusetoaddatastetheKickdrum harmonic boombox.”ThesamethingItouredwith30yearsago? with [EmpiricalLabs]Distressors.I’malsousingadbx120sub forthebassguitar.tandem withaBSS901 Vocals alsohave901s Apogee Rosetta.DirectlyonchannelsIhaveaTube-Tech LCA2Bin passes totheLakes-that’swhereIdoroomstufftheninto only noticeintheabsence-it’snota‘chiselEQ’.Thensignal EQ; IcanaddshadestotheHF. It’ssubtle,thesortofthingyou’d a MassenburgGML8200,5-bandparametric,justthesweetest As forthecontentofthoseracks:“For mymainsystemEQI use lighting kittakingupvaluablerealestateoutfront. experience, wetrust?Besides,therewasalsoatonofvideoand Lighting & Sound - May 2009 ontour
31 www.lsionline.co.uk Snow Patrol:On tour.qxd 06/05/2009 11:57 Page 32
vertical frames of Vari*Lite 3500 Washlights behind. “For the smaller German venues I’m reducing the length of the fingers, we’ll cut the back hinge but just rig all the lights tour closer together. The pods I’ll fly just three - pods one, three and five, with pods two and
on four stood on the stage. I can’t say enough good things about the light from the VL3500s - I’m particularly pleased with the ACL look I can achieve from behind. The fingers have VL3000 Spots and Robe 2500 washes. I chose the Spots for sheer brightness; I needed that strength against the O-Lite behind, which is extremely bright. They also have the best optics for colour and gobos.
“The Robes? To be honest, it’s what HSL has. The colour range is reasonable, they’re very reliable and they are bright, though not as bright as the VL3500 obviously. But they a lighting designer who’s unafraid of they’re playing and how it sounds, so they do what I need. I’ve got the I-Pix BB16 on darkness, Carolan provides a texture of need to hear what it is they’re trying to the end of each finger for audience light, contrasts. achieve.” and the four-cell strip BB4 in lines along the length of the fingers pointing down on Monitors Lighting & Video stage. These down lights look especially Tristan Farrow, sat behind a Yamaha PM5D As Wob Roberts indicated, this is very much good when used alone with say, just the VL desk, has the full Monty when it comes to an integrated whole. Were I to make Spots - you get a flat shaft of light and it’s monitors: “The band are all on the a general observation it would be to say that quite punchy, even at 30 feet, and they have Sennheiser G2 in-ear system and they all for most of the performance video imagery great colours - a good dark Congo and nice have d&b M2 wedges. The wedges are for exists only at a subliminal level, something pastels.” a bit of weight, they’re amazing - I used you’re aware of, but only in an abstract them on Therapy in 2004 and they’re just sense, its presence no more or less Sherwin also has Atomic 3000s with the best.” intrusive than the beam of a moving light. scrollers on the fingers, four each; the It’s a bit like walking down a busy street: physical presence of the fingers is obviously When you say weight, do you mean that you yes, you see people all around you, but an evocation of the band’s new album, keep the voice in the Sennheiser system could you describe one of their faces? Thus A Hundred Million Suns. This simple motif is and just put the fatter end of the music the triumvirate of Blue Leach, Rob Haddow repeated with beams up from the floor through the wedges? “No, I think you do and Dave Sherwin have managed to pull off behind the back line. “That’s another reason need the voice in there as well, the M2 gives quite a feat; and the fact they recreate this for choosing the VL3000 Spot - the great the pressure and vibration of the voice, it’s feat each show, on the fly, makes it all the zoom range, so the ones on the floor behind a tangible sensation. The ear pieces are all better. can give a really wide beam.” UE11s, they isolate very effectively, though I’ve had to modify the Bass player’s Dave Sherwin is LD, and comes across as So what of all that Barco O-Lite at the rear? because he sweats so much.” arguably the lead body in all this. His rig, “The video all goes through Catalyst supplied by HSL, comprises five finger- operated by Rob Haddow; we’ve been Farrow showed how he cuts tiny strips of trusses fanning out towards the audience working together now for four years and he Boots Waterproof sticking plasters and (hinged at the upstage end, they are has a good understanding of what I’m tapes the edge of the silicone ear-mould, claw-like in apperance) and five pods, working to achieve. In essence, I want the “just enough friction to hold them in place. Everybody’s mix is in stereo and quite wide - no compression, no EQ, no filtering or anything else. There are 24 mixes, with three wedges per person, and so the PM5D is full, ins and outs. When I joined last September I wanted an H3000 but this does the job and they like the rawness.”
Does Mark’s choice of a Neumann 104 for lead vocals present any problem? “No, it’s a natural sound so it’s fine. Whatever mic wouldn’t be a problem, I don’t have a stage that’s really loud, there’s even enough space between the drum kit and the vocal mic that spill is generally OK, so sensitivity online.co.uk issues are just not there. Mix-wise, however, it all has to be there, and it has to be mixed song by song, so I do need scene recall for
www.lsi every song. The band are very reflective in what they play, I mean they think about what
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O-Lite to be treated as a lighting surface. Blue Leach cuts from the Haddow has been doing more and more work for XL directly since live cameras and outputs to Rob, he controls the Catalyst from his the last time Snow Patrol graced these pages: “I do a lot of Catalyst own Hog 3. He also has the four Barco DML1200s to control. work for them, including Dancing on Ice recently. For me, it’s just I wasn’t that convinced about them at first, but we now have them such a useful tool, it does so many things that would require tour positioned off the stage, two on the floor in front of the PA, and two expensive processing. For example, in this show we have the at front-of-house. From these positions we can project onto the PA, moving screens, thin vertical sections rising and falling. I can
on the ceiling of the venue - in fact any surface we can get a fix on we’ll separate one output into eight outputs and apply different offsets to use.” each of them: So, as eight slices of the screen move into a variety of positions I can maintain the image placement across all of them - There was a noticeable lift in his voice as he said this, the freedom if I choose to. The O-lite is superb - unbelievable colours - which of action obviously invigorating. “Wherever we find a place to point supports me in keeping with Dave’s lighting.” them it always seems to raise a crowd reaction, we can ‘walk’ an image right round a room.” How much of your work is tightly scripted? “It’s a complete collaboration. Blue does bits and pieces to the camera images All the video equipment - cameras, PPU, O-Lite and DMLs - comes before I even get them; he’s got analogue effects he applies, things from XL Video. “They’ve been very good, so too HSL - great back- like having a camera to vision monitor feedback loop. I’m doing the up, and HSL support me behind the scenes, doing things like digital effects. It was the DML that forced me to move from Hog 2 to providing my rigging plots for me.” 3, and it’s proved a good decision. The thing I like is being able to load and edit a cue easily - there are multiple ways of accessing Sherwin, like Haddow, operates from a Hog 3: “I find it fast to edit and doing it; there is always a work round. And there’s capacity, I’m and with this show I’m constantly updating - I find that really running the DMLs without using their on-board media server, even straightforward.” so they take 51 channels apiece.”
The lighting looks follow the mood swings that are so powerfully What does he think of the DML as a touring tool? “It’s impressive, reinforced by Carolan’s mix. Sherwin often holds off from major it can’t reach the light levels of lamps in the rig unless used in Light lighting states, leaving the stage generally stark and lit with some Mode, then it’s punchy enough, but of course that’s restrictive. But garish, often dirty colours from the VL Spots, but he will soak projecting from the downstage position to the room’s back wall is a heavy wash. Soft-edge is the order of the day; beam work is more than bright enough.” restricted. It’s a setting that allows the O-Lite to function as he intended, as another lighting surface. The fact the Kinesys system Haddow puts images on the audience and wall behind when singer has pods and screen sections moving up and down, constantly Gary Lightbody goes out into the crowd for ‘How to be dead’: the reformatting the band environment, serves to distance the viewer images are of the crowd themselves and it provides an audible lift to from becoming accustomed to the imagery; it’s all of a fluid state. crowd reaction. It works at another level, for Gary has a followspot
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34 Lighting&Sound - May 2009 nwPatro Snow spent. give thevideodimensionsomecontent,andhereit’smoneywell If nothingelseit’sgoodtoseeperformersspendingtheircash “for meit’sperfect,artintolivemusic.” narrative, sotheaudienceisgentlyguided.“Unique,”saysBlue, interpretation,” saysBlue.Itishowever, precededbyawritten “It’s looseandopensotheaudiencecanmaketheirownpersonal universe,” hebegins,buthavingheardit,Iwon’tspoilitforyou. Which lookslikewhat?“An enormousorigamistarbirthsthe Finch [www.atticusfinch.tv] withreferencestothealbumcover.” TV andDVD work,withinputfromthosecleverbastardsatAtticus imagination. “TheanimationisproducedbySplinterwhodoallmy attitude tothewholeshow, there’sgreatscopeforapplyingyour was veryclear;heinvitedmetoexpanduponit.That’stypicalofthe idea; hesawthethreestagestostory. Thenucleusofhisidea venue. Theanimationfor‘TheLightningStrike’wasGary’sinitial makes itadistinctSnowPatrol showandputstheirfootprintonthe the tour, andfootageofthevenuetouseinshowcontext;that Blue continues:“InthisapplicationI’musingartworkproducedfor used aswelltheycouldbe,andthisisit.” show. They’reideallyplacednow, Iwasreallykeentoseethem to useoneforagesandI’mreallygladDavewrotethemintothe skyline.” AndwhatoftheBarcoDMLs?“ImustadmitI’dbeendying strips takenout-brokenuplikethatitmakesforabitofcity withafew video package:“DavehasalwayswantedtouseO-Lite Blue Leachis,inhisusualfashion,highlyanimatedaboutthewhole that provesendearing. for ablendingandblurringoflinesbetweenperformeraudience be litinisolationfromtheaudience,butDMLprojectionmakes on himaswell(theonlyhousespotcueofthenight).Normallyhe’d l O tour.qx :On reliable wirele For a full copy of our lab report visit www.citytheatrical.com/labreport.htm visit report lab our of copy afull For WiFi. with coexist peacefully to it allow that of options arange utilizes selectable user system DMX SHoW CTI’s signals. WiFi weaker overwhelm can systems DMX frequency Strong wireless band. hopping 2.4GHz the in systems broadcast wireless multiple utilize today shows and venues Many Others with Well Plays DMX. data wireless of in seen levels ever highest the fidelity ensure to packet DMX incoming the with pattern hopping radio radio’s art the the of astate synchronizes utilizes that DMX) Wireless of Hopping (Synchronized DMX SHoW winning award Theatrical’s City High Data Fidelity SHoW DMX 60/0911 06/05/2009 d ™ is the most advanced and and advanced themost is And We Have the Data to Prove It! Prove to Data the WeHave And : ss DMXever! ss 57 Page # 7,432,803 andotherpatentspending. SHoW DMX Transceivers arecovered byU.S. Patent 35 130%6$54 LIGHTING found inSnowPatrol’s mysticalmusicalimagery. ‘synchronicity’ istheword,Ibelieve,andthere’salotofthattobe three menareworkingtotheirownagenda.Itlookssoeasy: The funnythingaboutallthisisthattowatchthemyou’dthink guessing, youknowimmediatelyifsomethingworksornot.” this happeningmoreandmore,it’stheperfectplace-nosecond with asolutionthatdoesn’ttakeuphugeamountsofspace.Isee “Yes, finallyI’moutfrontandcansee,goodoldXLhavecomeup perch backstage,excludingthemselvesfromthezeitgeist. allowed forthevideodirector:Ijustdon’tunderstandwhysomany circumstances -andarguablyFOHreal-estateshouldalwaysbe operating fromfront-of-house aswell-impossiblenotto,underthe “Overall, thecombinationhasgreaterimpact,”hesays.He’s There’s nomistakingthesenseofmotivationLeachisexperiencing. being doneonstageandadaptwhatI’mdoing.” cues andusesCatalysttoworkwiththem;thenIcanlookatwhat’s with RobandDave-takesmyfeed,hehasaccesstoDave’s that allowedmetoriffwiththeband.NowIwelcomerelationship where ItriggeredCatalystmyselfusingatouch-screeninterface, “I reallyenjoythissenseofcollaboration.LastyearIhadasystem rig. has fourmannedcameras,fivelipstickandtworobocamsupinthe in anemotionalwayandthat’swhatIapplytothecameras.”Leach and thatenergyhelpsthesongalong.Thelightsarethoughtabout colours tomatchorcontrastDave’slightingismoodenhancing, How doesthisallworkinoperation?“ThewayRobappliesthe >>> >>> www.hsl.co.uk www.skanpa.co.uk 0'5)&:&"3 Lighting & Sound - May 2009 ontour
35 www.lsionline.co.uk