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Ayrton supports Fuerza Regida stadium tour
21/08/2026
Robe GigaPointes illuminate Ollesummer
13/08/2026
Van Dik Hout on tour with Martin Audio WPL
11/08/2026
Ryan Healey evokes moody vibe for “The Vampire Lestat” premiere at Beacon Theatre with Chauvet
10/08/2026
Lucie celebrates 40 with Robe
07/08/2026
„Light of Creation“-Show in Wiener Votivkirche mit MA Lighting, Martin und Prolights inszeniert
06/08/2026
Meyer Sound seit 40 Jahren Global Official Sound Partner des Montreux Jazz Festival
Vom 3. bis 18. Juli 2026 feierte das Montreux Jazz Festival seine sechzigste Ausgabe mit mehr als 250.000 Besuchern bei über 700 Konzerten und Veranstaltungen am Ufer des Genfersees. Gleichzeitig blickte Meyer Sound auf vierzig Jahre als Global Official Sound Partner des Festivals zurück.
Das Jubiläumsjahr brachte einen der umfangreichsten Einsätze von Meyer-Sound-Technologie in der Geschichte der Partnerschaft mit sich. Mehr als 700 Lautsprecher kamen auf den zwölf offiziellen Festivalbühnen sowie in Bars, Hospitality-Bereichen und Sponsorenzonen zum Einsatz. Tigra, das neueste Line-Array-System von Meyer Sound, das zuvor bereits beim Roskilde Festival seine internationale Festivalpremiere gefeiert hatte, debütierte in Montreux. Sämtliche Audiosysteme wurden wie in den Jahren zuvor vom Schweizer Veranstaltungstechnik-Unternehmen Skynight geliefert und integriert.
Im Auditorium Stravinski sorgte ein System aus Panther-Line-Arrays und 2100-Low-Frequency-Control-Elementen für den Sound. Zur Eröffnung kam zudem eine besondere Produktion zum Einsatz: Die britische Sängerin Raye präsentierte ein zweistündiges Konzert auf einer speziell angefertigten, rotierenden Rundbühne in der Mitte des Saals. Begleitet wurde sie von einem 22-köpfigen Ensemble, mit dem Front-of-House-Engineer Matthias Garrick am Pult. Für diese Produktion wurde ein eigenes Systemdesign entwickelt, bestehend aus Panther-M-Lautsprechern, Tigra-Fill-Systemen sowie Leopard-, Lina- und Ultra-X80-Lautsprechern. Hinzu kamen 2100-LFC und 900-LFC.
Gastauftritte von Mark Ronson und Alicia Keys erforderten 36-stündige Aufbau-Arbeiten mit mehreren Teams im Schichtbetrieb; am nächsten Morgen war der Saal wieder vollständig für den regulären Festivalbetrieb umgerüstet. „Das war ein echter Montreux-Moment“, sagt Andy Davies, Senior Director of Product Management bei Meyer Sound, der während des gesamten Festivals vor Ort war. „Das Festival schafft immer wieder besondere Erlebnisse und Momente.“
Im Montreux Jazz Lab bildete Tigra gemeinsam mit 2100-LFC das Herz des Beschallungssystems. „Tigra bewegt sich bei Größe und Gewicht im mittleren Bereich und liefert gleichzeitig klanglich die Leistung eines großformatigen Systems“, sagt Martin Reich, Sound Coordinator und Resident Engineer des Festivals. „Dadurch haben wir jetzt auch im Jazz Lab den Klangcharakter eines Großformatsystems. Bisher mussten wir dort aufgrund von Gewichtsbeschränkungen kleinere Systeme einsetzen.“
Standortübergreifend sorgte die Nebra-Software für eine zentrale Steuerung und Überwachung verschiedener Meyer-Sound-Plattformen und -Prozessorgenerationen. Dazu gehörten RMServer, Galileo Galaxy Network Platforms sowie das integrierte Gen-1-Processing von Tigra. Über das gesamte Festival hinweg war ein technisches Team von Meyer Sound vor Ort. Der Austausch zwischen erfahrenen Fachleuten und jungen Ingenieuren zählt zu den wertvollsten Aspekten der langjährigen Zusammenarbeit. „Hier gibt es die Möglichkeit, enorm viel Wissen weiterzugeben“, sagt Davies. „Für junge Audiotechniker ist das ein großartiger Ort zum Lernen.“
Während das Montreux Jazz Festival seine internationale Präsenz weiter ausbaut, etwa in China, Südafrika und Miami, entwickelt sich auch die Zusammenarbeit mit Meyer Sound kontinuierlich weiter. „Das Organisationsteam in Miami hat uns gesagt, dass Meyer Sound den Klang von Montreux auf ihre Bühne gebracht hat“, berichtet Davies. „Das war ein willkommenes Kompliment. Genau darum geht es uns: nicht nur die Marke zu bewahren, sondern das besondere Montreux-Erlebnis auch in neue Märkte zu übertragen.“
„Vor vierzig Jahren bat uns Claude Nobs, gemeinsam etwas zu schaffen, das es so noch nicht gab: ein Festival, bei dem die Klangqualität denselben Stellenwert hat wie die Musik selbst“, sagt Meyer-Sound-Mitgründerin Helen Meyer. „Was mich heute am meisten bewegt, ist, wie sich diese Idee über die Jahre weiterentwickelt hat. In Montreux entdecken wir jedes Jahr etwas Neues. Das ist kein Zufall. Es ist das Ergebnis einer Partnerschaft, die über viele Jahre hinweg auf denselben Werten basiert.“
Foto (v.l.): Helen Meyer (Executive Vice President, Meyer Sound), Mathieu Jaton (CEO, Montreux Jazz Festival) und John Meyer (President & CEO, Meyer Sound). (Fotocredit: Ralph Larmann)
Ayrton supports Fuerza Regida stadium tour
Lighting designer Alain Corthout of Showplus selected over 285 Ayrton fixtures as part of his lighting rig for música mexicana band Fuerza Regida’s current “This Is Our Dream” North American stadium tour 2026. Corthout brings more than thirty years of experience to the team: from starting his career in his native Belgium, he is also a veteran of working with Italian and Latin based artists such as Alejandro Fernandez and Miguel Bosé in both the USA and across South America.
“An all-stadium tour gives the designer a very broad canvas to work with”, he says. “The inspiration was to create a very dynamic visual show, with seven moving lighting pods and to play with the transparency of the screen, which is why we rigged a lot of fixtures behind the screens.” Corthout is very familiar with Ayrton lighting fixtures as he makes clear: “Since we were working with Rent All Pro USA, which is the USA division of Procolor Mexico, they have a lot of Ayrton fixtures, and I was very happy to implement as many as they had available.”
“To realise Fuerza Regida’s ‘Dream’ stadium tour concept, we selected 44 Domino LT fixtures to use as fillers and key lights; 63 Rivale Profiles rigged in the moving pods; 112 Veloce Profiles behind the screens and 66 Zonda 9 Wash fixtures above the screens”, he explains. “The fixtures provided strong, sculpted beams for architectural and aerial moments, rich, consistent colour for intimate storytelling, and versatile effects for dynamic song-driven moments - all of which supported the band’s cinematic, high-energy style while maintaining detail at distance.”
“Since Rent All Pro USA also had a few other tours out when we sent in our requests, I ended up with a mixture of different fixture types”, adds Corthout. “I usually tend to use the same types, but I was pleasantly surprised how well they performed together. These fixtures were perfect to create the bold looks we were looking for.”
The stadium tour’s Production Director is Fabian Herrera, the Lighting Programmer is Menga Cruz. Production Design is by Eleven Live and Showplus.
(Photos: Immanent Studio)
Elation Rebel Line adds dynamic layer to Tom Kenny’s lighting design for NHL Draft
When the NHL Draft returned June 26-27, 2026, at KeyBank Center in Buffalo, New York, lighting designer Tom Kenny was once again tasked with creating a visual experience for this high-profile hockey event. Twelve Elation Rebel Line 16 linear tilt bar fixtures, supplied by 4Wall, played a key role in extending the set design and adding dynamic visual effects throughout the broadcast.
A veteran lighting designer known for his work across major television broadcasts and touring productions, Kenny has a history of incorporating emerging lighting technology into real-world applications. “The Rebel Lines were located downstage on each side of the stage - five on each side - and used them as eye candy for the Steadicam and wide shots. They fit right in with our very elegant look”, he explains, adding that his favorite features were the SparkX effects and chases programmer David “Fuji” Convertino created with them.
Freelance gaffer Brian Carico worked with Kenny on the NHL Draft for the second consecutive year and has previously collaborated with Elation on the project. He coordinated with Elation representative William Irwin to bring the Rebel Line 16 fixtures into the production. “We intended them to be on the stage, but as the set developed, we decided to put them on the bottom row on each side of the stage”, says Carico. “It added another layer - a nice line of lighting to accentuate the set. They were the first lights everyone saw on stage.”
The Rebel Line fixtures were used throughout the broadcast, adapting to the event’s changing visual requirements. “As teams were called out, they adjusted to match the team’s color scheme”, says Carico, adding that they used them as wash lights and for pixel effects. “The whole color palette was useful to match the rest of the rig and the different team colors.” He also highlights the impact of the fixture’s SparkX effects: “I really like the sparkle effects in the fixture. We used that, for example, during a Trade Alert look, where everything went to red with sound effects. We accentuated that with the SparkX.”
“Having two separate tilt sections makes it really fun for waterfall effects”, says Convertino of the new fixture. He explored the full range of the Rebel Line’s effects capabilities during the broadcast, using both the RGBL engine and SparkX technology. “The SparkX feature was fantastic in how it enhanced making FX with the RGBL engine”, he notes. “Running them in full mode made it possible to use every feature the light has to offer.”
(Photos: Elation)
Martin Audio WPC used for Glorious Day festival
Performing to a capacity crowd at the seafront Hove Lawns location in Brighton, UK, an artist line-up including Groove Armada, Jocelyn Brown, and DJ Todd Terry headlined the Glorious Day festival. Delivering sound reinforcement alongside noise control in a sensitive residential environment was a Martin Audio WPC system, deployed by dBS Solutions.
The scalable system comprised ten Martin Audio WPC array elements per side as the main hangs. Providing low-end performance was a castellated array of ten Martin Audio SXH118 subwoofers, configured in a cardioid set-up.
“Hove Lawns on the seafront is a very long, thin area with the beach to the audience’s left and rows of flats and shops along the road to the right”, describes Chris Bogg of dBS Solutions. “The nearest residence is in line with one side of the stage, at a distance of only 60 m. We used Hard Avoid features within the software to dramatically reduce noise behind the main array.”
A greater challenge for the team was a residential and commercial area situated on one side just beyond the far reaches of the 80-m-long site, requiring careful placement of the delay systems. “We had two MLAC delay systems along that left-hand side firing almost across the audience and out towards the sea”, says Bogg. “The city-facing delay was angled in more than you ordinarily would, specifically to keep those high frequencies from spilling beyond the boundary of the site.”
Across the event, dBS Solutions utilised Martin Audio’s Display optimisation software to create multiple levels of coverage predictions. By experimenting with different optimisations and collaborating closely with the local noise control team, they delivered the desired balance of on-site impact within the stringent off-site noise limitations.
(Photos: LCVisuals)
Onedot calls on Chauvet to light landmark Souldia show at Festival d’été de Québec
Lighting Canadian rapper Souldia’s headline show at the Festival d’été de Québec this July was “a true pleasure”, according to the Onedot team which was involved in the show’s creation. “So many things came together in this production that amplified the power of our lighting”, says Onedot’s Érik Nowosielski-Lamoureux, the lead lighting designer.
“Marc-Olivier Commeau, our Creative Director, was responsible for the overall creative vision of the show”, he continues. “We used his artistic direction as the foundation for the lighting design, and he also created all of the video content. A big thank also goes to Quebec City-based lighting designer Pier-Luc Boucher for creating such an incredible stage design.”
“Our number one rule when programming a show is to make sure every song has its own unique visual identity”, Nowosielski-Lamoureux details. “Once our programming is complete, we always go back and watch the entire show. If two songs feel too similar, we’ll adjust the lighting to give each one its own signature look. This particular stage design was extremely versatile, which made it easy to create distinct looks throughout the performance while keeping the show fresh and engaging.”
The Onedot team and their collaborators created a gripping environment on stage that brought the audience into the world that gave rise to Souldia’s music. At times that world was harsh with searing light piercing dark space and illuminating pieces of dystopian scenic pieces; at other times, it was vividly imaginative with abstract video images set against monochromatic washes.
Helping Onedot create the show’s lighting were forty-eight Color Strike M strobe-washes and thirty-two Colorado PXL Curve 12 motorize battens form Chauvet Professional, which were supplied by Solotech. “Pier-Luc Boucher did a fantastic job integrating the Color Strike M into the stage design”, says Nowosielski-Lamoureux. “Rather than placing them in just one location, they were distributed throughout the entire stage, allowing us to create impactful looks from every angle.”
In addition to expressing gratitude to his many collaborators - including PMs Mathieu Couture and Marc-Antoine Tanguay, as well as programmer-operator Maxence Gendron, all from Onedot - Nowosielski-Lamoureux is especially thankful to Souldia. “I’d like to sincerely thank Souldia and the label, 7ième Ciel, for placing their trust in Onedot for this project”, he says, adding that headlining the Festival d’été de Québec is “a once-in-a-lifetime opportunity for many artists”, and another chapter to be added to the history of everyone involved in this show.
(Photos: Chauvet Professional)
Lindsay Jones specifies TiMax for TheaterWorks Hartford’s “Circus Fire”
TheaterWorks Hartford’s immersive production of “Circus Fire” was staged in the round inside the Governor’s Foot Guard armoury in Hartford, Connecticut. The acoustically challenging venue called for a spatial audio system that could keep dialogue intelligible from any performer position while still supporting large-scale theatrical effects.
Sound designer Lindsay Jones specified a TiMax SoundHub spatial audio processor with TiMax TrackerD4 real-time performer stagetracking. Loudspeakers were drawn from Martin Audio’s FlexPoint range, chosen for its compact form factor and coaxial dispersion. Audio was supplied by Brooklyn, New York-based ADI Worldwide.
TiMax was chosen after Jones and associate sound designer Nat Houle conducted a comparison of every available spatial audio platform. “TiMax is very modular, very flexible. A lot of the other spatial audio programs have fixed parameters not conducive to in-arena staging”, says Jones. Houle, who programmed the system, adds: “Without microphones on actors in the space, we wouldn’t have been able to hear a huge portion of the show because of the room acoustics.”
Martin Audio’s FlexPoint range was chosen for two reasons: the venue’s historic status demanded floor-standing rigging and therefore lightweight cabinets; and Jones also wanted loudspeakers placed unusually close to the audience. His design concept was to “create an acoustic space below the acoustic space of the room” to deliver clean signal to the ear before the reverberant room could colour it. Two FlexPoint FP4s sat above each of the five audience banks for vocal reinforcement, FP6s provided surrounds, six FP12s in the balcony handled larger effects, and four subwoofers anchored the room.
TiMax TrackerD4 followed each performer while TiMax SoundHub localised the voice, so audio matched the body producing it. “Not only is it important that I can track the actor and know exactly where they are, but with TiMax I can craft exactly how that sounds”, Houle observes. “People felt like the size of their bodies. It felt proportional. That is transparency.” Jones adds: “You were always able to hear everything, always aware where it was coming from. It felt very natural.” TiMax also allowed simultaneous scenes to be localised without competing.
Two specific moments showed what the system made possible. In the fire sequences, switchboard operator characters took phone calls with phone-effect processing applied to their voices. Because TiMax was tracking and localising each mic, the processed voice appeared to come from the phone in the actor’s hand, not from the PA. “It literally sounded like their natural voice coming through a phone, restricted to the body of the person”, says Houle. Jones also discovered that musical underscoring could be attached to a performer’s tracker, so a character’s theme physically followed them through the space - a creative freedom he says he will build into every show.
Jared Mezzocchi, director of the show, and the creative fire behind what he calls a “multimedia experience”, summarizes: “The combined package of TiMax SoundHub and TiMax TrackerD4 was a subtle, nuanced, necessary tool that let the story and storyteller remain foregrounded by eliminating all of the hurdles a reverberant armoury presents.”
(Photos: Curtis Brown Photography/TheaterWorks Hartford)
Robe GigaPointes illuminate Ollesummer
Ollesummer Festival in Tallinn, Estonia, is one of the biggest beer festivals staged in the Baltics and originally ran annually from the 1990s until 2018, returning in 2024 after a five-year hiatus. The sunny 2026 event again took place at the Tallinn Song Festival Grounds, featuring approximately 100 artists, attracting over 100,000 visitors over four days of performances for music lovers of all ages and tastes.
E&T Valgus was the lighting production rental company, and they supplied six stages with equipment, choosing to deploy Robe moving lights on the five largest ones. This included thirty-two of Robe’s new IP65 rated GigaPointe white phosphor laser source multifunctional luminaires on the Main Stage.
The production lighting design for each stage was created by E&T’s Olev Luhaäär and Artur Soo, and based on artist riders, plus what their pool of experience judged would be the best and most appropriate lighting options for a broad array of artists from all genres.
The Main Stage structure was thirteen metres wide by ten metres deep, and all the GigaPointes were on this stage. “We wanted to ensure all bands had plenty of capacity to present spectacular, individual and different lightshows”, states Luhaäär. The GigaPointes had recently arrived in E&T’s rental stock, and this was only their second show.
Of the thirty-two on the Main Stage, twenty were rigged on the over-stage trusses and twelve were positioned upstage on the floor. Luhaäär explains that they were originally asked to put MegaPointes on the event, but when they realised the GigaPointes would be delivered in time, it made sense to swap these out for the newer fixture.
Out of the thirteen Main Stage artists, four brought their own LDs, so the remaining nine acts were operated by Soo from E&T, a very tight and demanding schedule as the house LD, which also gave him the “perfect opportunity to realise the potential of these GigaPointes”. Soo says that both he and the guest LDs - including Alexandru Gheo, LD for headliner Romanian singer-songwriter Inna - were able to get everything they needed covered with the GigaPointes.
“It was one of our best shows in terms of lighting”, says Gheo, who used the GigaPointes primarily in two ways - firstly as a regular spot/beam luminaire, and secondly as rear contra-lighting for Inna. He notes that he has never used a prism effect so much before, and especially not in a near-daylight show.
Also on the Main Stage were two Robe Fortes fitted with the HCF (High Colour Fidelity) LED TE (Transferable Engine) modules, rigged on the front truss and running on two RoboSpot systems positioned at FOH. These were used for all the follow spotting and specials. Additionally on the Main Stage were twenty Robe LEDBeam 350s, positioned on the upstage trusses and on the floor and used for filler beams as well as for extra wash lighting when needed.
Last but not least on the Main Stage were twelve MMX WashBeams, all on the front truss. The MMX WashBeam is an older Robe fixture still going strong and absolutely loved in certain parts of the world, including the Baltics and the Balkans.
Around the other stages, the Koff Stage featured twelve Robe MegaPointes, sixteen LEDWash 800s and twelve CycFX8 moving LED battens; the Rock stage was equipped with twelve LEDBeam 350s and twelve Pointes; the Saku Stage shimmered with eight LEDBeam 350s and eight LEDBeam 150s; while the Youth Stage was energised with eight LEDBeam 150s, four Spikies and eight iParFects.
The E&T team started planning for the event in May, when it was confirmed that they won the lighting contract for production company Loud’n Live Promotions Estonia Ltd., and the site build commenced a week before the show days, where their fifteen technicians helped deliver a highly successful event.
(Photos: Karli Saul + Kevin Markus Kukk/Ollesummer Festival)
CSD Group and Elation light Peru Amateur Circus for a new era
Held each July in Peru, Indiana, the Peru Amateur Circus is one of the few remaining amateur circuses in the United States. Committed to preserving this community tradition, the Circus Arena at Circus City Festival, Inc. (CCFI) decided it was time to move beyond its decades-old incandescent lighting system and turned to CSD Group, a national AVLA systems integration company based in nearby Fort Wayne, for an upgrade featuring Elation LED lighting and an Obsidian control system.
The project was made possible through the generosity of donator Robert Cultice, the leadership of CCFI Board Member Bob Sucharski, the engineering expertise of CSD Group, and the dedication of a team of volunteers who donated weeks of their time to complete the installation. CSD Group had completed an audio upgrade for the venue in 2025 and was entrusted to design, install, commission, and train volunteers on a completely new theatrical lighting system. Project Manager at CSD was Jim Gall.
According to Dave Singer, Client Relationship Manager at CSD Group, the relationship with Peru Circus made the lighting upgrade a natural next step: “We earned the client’s trust after completing their audio upgrade, so when they were ready to modernize their lighting, we recommended an all-Elation solution”, he says.
“Their old system consisted of decades-old incandescent white light fixtures with gel frames, so there were limited options for color changing”, Singer continues. “The lighting was quite stagnant as gels weren’t changed often. The new design gives them complete color flexibility, moving light capability, and the ability to highlight performers and accent their costumes across all three rings while creating a much more immersive experience.”
Logan Decker, Lighting Designer at CSD Group, developed the new system design. The design process began in Capture previsualization software, which Decker used to model the show in 3D. Trussing surrounds the entire outer perimeter of the performance area, forming a large rectangular lighting grid approximately 120 feet long by forty feet wide that spans the arena inside the bleachers. This configuration gives them the flexibility to position fixtures wherever needed and add more in the future if desired.
Alongside the ringmaster, a cast of performers and full live orchestra, the main floor is divided into three separate rings. A key requirement was to spotlight the action in one ring while keeping the other two softly lit as they reset and prepare for the next act. Because activity can move rapidly between the three rings, flexibility was critical.
Singer notes that designing for a circus environment required close collaboration with the client. “This isn’t a standard performing arts space”, he says. “We worked closely with the circus to determine fixture locations that delivered the best lighting while avoiding interference with performers. For example, we had to change some fixture locations because of the trapeze artists, who fly in and out with safety cables.”
The new system features sixteen Elation Fuze SFX moving heads, eight Fuze Wash 500 Fresnel fixtures, twelve Paladin Brick LED battens fitted with 60-degree lenses, two Magma Prime hazers, an Obsidian NX1-16 lighting console running Onyx, and a Netron EN12i for DMX distribution. CSD worked with Elation’s manufacturer’s rep firm, Five Lakes Marketing, and representative Ed Cheeseman.
“The Fuze 500’s main priority is to provide a general wash in spotting performers, ringmasters, or equipment anywhere in the arena at any time”, Decker explains. The Paladin Bricks, RGBW floodlights with IP65 protection, provide vibrant color onto the arena floor and into the audience seating areas.
For dynamic looks, CSD specified Fuze SFX fixtures, LED spot and effects moving heads capable of projecting tight beams to wide washes. “There are certain performers they want to highlight during their acts - from tightrope walkers and unicyclists to fire performers and trapeze artists - and the Fuze SFX is perfect for that”, Singer notes. To fully reveal the beam and gobo effects, the design incorporates two Magma Prime hazers, producing a thick, even atmosphere.
As for the NX1-16, Decker says that the console is “ideal for the limited control space we had available. It’s also powerful with plenty of universes for expansion. Over my eight years of using the Onyx platform, I have learned that it can be as simple or as advanced as you need it to be, depending on how you set up your views and faders.”
Using Onyx, Decker created a programming environment tailored specifically for the circus. “I implemented a 2D layout of the arena right into their fixture layout, giving them an exact idea of which lights are where”, he details. “The ability to change fader behavior allowed me to create simple on-and-off cue lists they could use during showtime. The motorized faders are always a huge plus as they can change banks during the show as needed and not lose control of anything active.” A touch screen was also added to give them a visual overview.
CSD also integrated a Netron EN12i to manage DMX distribution throughout the venue. “The integration with Onyx allowed me to configure routing right from the console, which is very important in this install as the EN12i is situated on the mezzanine opposite the control booth”, says Decker.
The lighting upgrade was as much a volunteer success story as it was a technology project. Sucharski spearheaded the project, coordinating the purchase of the new lighting system from CSD Group while working alongside a dedicated volunteer team that included Tim Bessignano, Joe Greene, Sam Myers, Bill Slonaker, and Jim Bradley.
Together, the volunteers donated five weeks of their time and expertise to complete the extensive installation. The project involved removing the arena’s existing lighting and wiring, installing more than 4,000 feet of new wiring, adding a new 200-amp three-phase electrical panel, and installing the new Elation lighting system.
The installation was completed in March 2026, prior to the start of practices, and made its performance debut during the Peru Amateur Circus’ annual summer festival July 10-18. The finished system gives them the flexibility they want, not only for the circus but also for other clients that use the space, like churches and special events, so the rig will get year-round use.
(Photos: Rebecca Danielle Portraits)
Van Dik Hout on tour with Martin Audio WPL
Dutch rock band Van Dik Hout recently brought their live show to Amsterdam’s AFAS Live as part of their ongoing touring schedule. Long-time audio production partner DSL Geluids- & Lichtverhuur deployed a Martin Audio Wavefront Precision WPL system at AFAS Live and throughout the tour to provide consistent sound reinforcement.
Due to a long-standing relationship with the band and its production team, DSL has a detailed understanding of their expectations and workflow. “Our scope extends far beyond supplying a PA system”, explains Gert-Jan Gomes, Director and Co-Owner of DSL. “We maintain and prepare the touring package, transport the equipment between shows, manage storage and logistics, and provide technical support throughout the production cycle.”
DSL operates one of the largest Martin Audio rental inventories in the Netherlands, with WPL forming the backbone of their large-scale event and touring systems. “Over a twenty-year period, Martin Audio has become the foundation of our loudspeaker inventory and an integral part of our approach to live sound reinforcement”, says Gomes.
At the AFAS Live venue, a total of thirty-two WPL cabinets were deployed. Low-frequency reinforcement was provided by Martin Audio SXH218 hybrid horn-loaded subwoofers. “Low-frequency performance plays a major role in any Van Dik Hout production”, shares Gomes. “While the band is known primarily for its strong songs, powerful vocals and guitar-driven sound, the impact and energy of the rhythm section are equally important in creating the live experience audiences expect.”
“At AFAS Live we deployed twenty-four SXH218, configured as twelve cardioid stacks of two cabinets high”, he continues. “The stacks were positioned across the front of the stage with approximately one metre spacing between each stack, creating a broad and evenly distributed low-frequency source.” Front-fill coverage was provided using Martin Audio Torus constant-curvature loudspeakers to ensure a seamless transition between the front rows and the main arrays. The entire system was powered by Martin Audio iKon amplifiers and managed through the manufacturer’s Display optimisation platform.
“A key design objective was consistency”, says Gomes. “Whether the band performed in a theatre, concert hall, festival tent or outdoor festival environment, the audience should experience the same balanced sound. The combination of WPL, SXH218, Torus and iKon amplification allowed us to achieve that objective while providing the flexibility required by a modern touring production. The cardioid configuration significantly improved rear rejection, creating a more comfortable working environment for the musicians and reducing unnecessary low-frequency build-up behind the array.”
(Photos: Martin Audio)
Ryan Healey evokes moody vibe for “The Vampire Lestat” premiere at Beacon Theatre with Chauvet
Even by the standards of Manhattan, and even amidst the Tribeca Film Festival, it was a sight to behold: Thousands of people, most of them dressed in dark, velvety Gothic garb, queued up outside the Beacon Theatre, waiting for the Season 3 premiere of “The Vampire Lestat”, an AMC series inspired by Ann Rice’s “The Vampire Chronicles”.
Those who gained entrance into the venue instantly found themselves in an immersive goth club, with moody visuals covering the entire space. After a showing of the season’s first episode, the big screen covering the Beacon’s stage rose, and there for all to see was Sam Reid, who plays the “Lestat” character in the TV series, but on this night performing songs from the show with his band.
For Ryan Healey (of 22 Degrees), who lit the 45-minute performance, the transition from film premiere to concert was one of the evening’s most powerful moments. “The audience watched the episode on a full screen that completely masked the stage”, he says. “As the credits rolled, the screen flew out to reveal the band already in position, and within seconds the premiere became a live rock concert.”
“Because this was the audience’s first introduction to ‘Lestat’ as a performer, I thought about this design less in terms of individual songs and more as one continuous statement”, continues Healey. “Every song had its own identity, but they all needed to feel like they belonged to the same world. The audience was meeting this version of the character for the first time, so establishing a consistent visual language felt more important than creating completely unrelated looks from song to song.”
Healey set a richly evocative mood for “Lestat” by merging theatrical flair with rock concert vibes. His design drew much of its strength from the lighting created with a ground package that featured thirty Chauvet Professional Colorado PXL Curve 12 fixtures supplied by CT.
“The ground package really became the foundation of the design”, says Healey. “The PXL Curves were one of the primary architectural elements of the design, defining the footprint of the stage, while also creating texture and scale behind the band. Because the fixtures were all at deck level, they reinforced the low center of gravity we were after, and helped keep attention focused on the performers. They also gave us the flexibility to build bold graphic looks throughout the set.”
Healey’s design was born, in part, out of necessity: “Because we only had one day in the venue and much of the overhead infrastructure was already occupied by the Tribeca Film Festival (which was scheduled to take place at the theatre), we intentionally kept the flown lighting package as minimal as possible”, he explains. “That allowed the overhead system to go in quickly so audio and backline teams could get to work while the lighting team built the ground package around the band setup simultaneously.”
“From a creative standpoint, I also liked what that approach did for the show”, he adds. “Keeping so much of the lighting at stage level naturally drew attention to the performers. It created a lot of energy around the band and helped fill a theater the size of the Beacon without relying on a massive overhead rig.”
Healey also leaned into bold monochromatic looks that he felt served to tie the entire stage together, making the performers and stage seem like they existed “in the he same visual world”. The monochromatic palette, combined with strong silhouettes, aggressive backlight, and ground lighting, conveyed subtle changes in mood during the set.
“There were moments where the show felt glamorous, and others where it felt raw and almost confrontational”, Healey concludes. “The goal wasn’t to make the show feel theatrical or overly polished. It needed to feel like the audience had walked into the biggest rock concert in the world while still carrying the mystery and elegance that people associate with the character. It was really all about ‘Lestat’.”
(Photos: Chauvet Professional)
Kinofilm „Der Regenbogenfisch“ auf Gelände der Messe Augsburg verfilmt
Die Messe Augsburg ist aktuell Schauplatz einer Filmproduktion: Dreharbeiten mit der Augsburger Puppenkiste verwandeln das Messegelände in eine filmische Unterwasserwelt. Das Kinderbuch „Der Regenbogenfisch“ von Marcus Pfister wird von der Claussen+Putz Filmproduktion in Koproduktion mit Studiocanal und Zodiac Pictures und in Zusammenarbeit mit der Augsburger Puppenkiste als handgemachtes Kinoabenteuer verfilmt.
Für die traditionsreiche Augsburger Puppenkiste ist der Film die erste große Kinoproduktion seit längerer Zeit. Klassische Puppenspielkunst trifft dabei auf modernes Filmschaffen: Handgefertigte Figuren bewegen sich durch die eigens geschaffene Unterwasserwelt, unterstützt von Lichttechnik und Kulissenbau.
Die Dreharbeiten zeigen, welche Möglichkeiten moderne Messeinfrastruktur auch jenseits klassischer Veranstaltungsformate wie Messen und Kongresse eröffnet. Denn Filmproduktionen benötigen kontrollierbare Licht- und Akustikbedingungen, belastbare Hängepunkte, Raum für Kulissen und Technik sowie eine leistungsfähige Logistik.
Die Hallen der Messe Augsburg lassen sich verdunkeln, bieten geeignete Voraussetzungen für Rigging und Deckenabhängungen und ermöglichen großzügige Produktionsflächen mit kurzen Wegen. Breite Zufahrten, ebenerdige Hallentore sowie Lade-, Lager- und Parkmöglichkeiten erleichtern die Anlieferung von Kulissen und technischem Equipment.
Strom-, Wasser-, IT- und Kommunikationsinfrastruktur stehen ebenso zur Verfügung wie Cateringangebote und Aufenthaltsmöglichkeiten für Produktionscrews. E-Ladepunkte ergänzen die Infrastruktur auf dem Gelände. Auf Wunsch können projektbezogene Ressourcen- und Energiedaten transparent ausgewiesen werden - einschließlich Strom aus Wasserkraft und eigenem Solaranteil.
„Der Regenbogenfisch“ soll am 19. November 2026 in die deutschen Kinos kommen.
Avante Audio Imperio Pro system used for Katchafire’s Kaua’i concert
When New Zealand reggae band Katchafire brought their roots-infused sound to Vidinha Stadium on the Hawaiian island of Kaua’i, they were joined by local Hawaiian acts High Watah and Revival. Local production company Audio Visual Technology LLC chose an exclusively Avante Audio-powered PA system for the concert which attracted approximately 3,000 fans.
Based on Kaua’i, Audio Visual Technology LLC was responsible for the complete production of the event. The company is led by industry veteran Kent Tanigawa, whose experience in entertainment technology spans more than four decades. Tanigawa previously operated a DJ retail store, served as Technical Director for theater productions at Kaua’i Community College, and has worked in live sound production for more than thirty years.
Twelve years ago, he established Audio Visual Technology LLC, which today provides audio, video, lighting, and backline equipment for events ranging from intimate gatherings to large-scale concerts. For the Katchafire show, Tanigawa deployed an Avante Audio system built around the company’s Imperio Pro Series compact line array technology.
The primary PA consisted of two flown arrays, each featuring seven Imperio Pro IMP205 modules. To ensure seamless front coverage, two additional IMP205s were positioned as stage in-fills. For extended audience coverage, particularly toward the rear of the stadium, Tanigawa also deployed two delay towers, each carrying four additional IMP205 modules.
“I bought the original Imperio compact line array modules as soon as they came out”, says Tanigawa. “I heard them on demo at NAMM and they were exactly what I was looking for. I needed a small cabinet, that was portable and scalable - and that’s what the Imperio Series offered. When the Imperio Pro version came out, it was an obvious choice to upgrade, and we now have enough of those to do a big concert like this. But we do still have some of the original mark 1 boxes, which are still going strong.”
Low-frequency reinforcement for the Katchafire show was provided by a combination of flown and ground-stacked subwoofers. A single Imperio Sub 210 was flown alongside each main array, while eight Imperio Pro IMP118 active subwoofers were ground-stacked in pairs across the front of the stage. Four additional Imperio Sub 210 units were deployed at the delay towers to ensure balanced low-frequency response throughout the venue.
“With seven IMP205’s on each side, the system gave really good coverage”, comments Tanigawa. “I decided to add an Imperio Sub 210 flown on each side just to fill in low-mids and help with the longer throw, and then the main Imperio Pro IMP118 subs on the ground did a great job with the bass. The delay towers were then behind us at around 250 feet back from the stage and filled in the sound out where they had some food booths and beverage trucks.”
Monitoring duties on stage were handled by eight Avante Audio Achromic A10 active full range loudspeakers. These served as wedge monitors for both the support acts and as backup monitors for Katchafire alongside the band’s in-ear monitoring system.
(Photos: Sheadon Ringor)
Lalo Sandoval chooses Klang immersive monitor mixes for Alejandro Fernández
Starting out with an audio rental company at the age of seventeen, Lalo Sandoval quickly advanced to become a monitor engineer for Mexican band Maná, where he stayed for fourteen years. His current artist, Alejandro Fernández, he has worked with for over twenty-five years.
Always eager to explore new technology, Sandoval first discovered Klang:Technologies while researching loudspeakers in Los Angeles. A colleague introduced him to a new tool for monitoring, so he contacted his local distributor in Mexico. Since then, has never looked back.
“As soon as I heard about Klang, I got in contact with my distributor and learned everything I needed to get started”, he recalls. “From there, it was easy to dive in and keep improving. With my current artist, our approach is completely transparent. We discuss how Klang works and the benefits it brings. He is always interested in exploring new technology.”
Fernández fills stadiums worldwide with a genre-defying mixture of ranchera and pop music. He has sold over twenty million records to date and reached almost eight billion streams on Spotify alone. According to Sandoval, working at this scale becomes “significantly more efficient with Klang’s immersive in-ear mixing technology”.
“Klang:Vokal is a great tool for an artist with an input list of around eighty channels”, he continues. “The performances are often staged in the round, creating a full 360-degree experience. We are using a range of instruments including guitars, trumpets, tuba, accordion, keyboards, drums, and percussion, along with a choir. Klang helps me reduce the stereophonic load, giving me more space to distribute the instruments while also lowering IEM levels.”
Another complexity of Alejandro Fernández shows is the high number of wireless, close-mic’d instruments using radio transmitters and DPA 4099 capsules. Close mics can make IEM mixes sound unnatural, says Sandoval, but being able to spread the signals around the listener reintroduces perspective and makes everything sound more natural.
“We are using twenty channels of wireless microphones, but this doesn’t affect my work at all”, he explains. “Wireless guitars, keyboards and instrument mics are all easily accommodated. For the 2026 tour, we integrate even more musicians into the Klang system.”
Sandoval begins to build his mix with the most dynamic instruments first, focusing on those that have the most movement, or effects added. Beginning with the guitars, trumpets or accordion, he ensures they are placed with intention before moving onto percussion such as toms, bongos and toys. Each cue is saved as a Snapshot for recall throughout the show.
“Having a specific location for each instrument is another useful resource, as it provides ample space in your mix”, notes Sandoval. “Alongside the Snapshots, my Klang mixes are stored according to each song, so I can move instruments in real time, fine-tuning the trumpet or guitar solos during the ballads, for example.”
In 2025, Sandoval enjoyed working with Klang:Vokal, but in 2026 he switched to DMI-Klang integrated into his own DiGiCo Quantum 326. “I really enjoy using Klang”, he states. “My stereo mix has now become an immersive mix. Klang allows me to take steps forward, improving my mixes.”
"The world of audio is wonderful, especially if you are continually updating and experimenting with new technology”, he concludes. “One thing I would tell future sound engineers and musicians is to always take care of their ears, protect yourselves from high auditory levels. Klang’s immersive monitoring helps make that possible.”
(Photos: Klang:Technologies)
Lucie celebrates 40 with Robe
Czech rock band Lucie celebrated their 40th anniversary with sold out concerts in four major cities around the Czech Republic - one in Brno, one in Ostrava, two in Prague, finishing up at the Logspeed CZ Arena in Plzen. Technical production was coordinated and managed by Smart Production, headed by Josef “Pepa” Zenisek.
The band’s lighting designer is Lukas Patzenhauer, and on his rig were twenty-four iBolts, forty-eight WTF strobe/wash lights and five BMFL WashBeams running on a 5-way RoboSpot system. Patzenhauer has been lighting the band for twelve years, and for this tour design, he worked closely with stage designer Michal Dvorak to create a big, bold and spectacular lighting aesthetic whilst also focusing on the dynamics of the music. Lighting equipment was supplied by Ostrava-based High Lite Touring, and it was the first time that Patzenhauer had the chance to use either iBolts or WTFs.
Some iBolts were positioned on the floor - four below the stage revealed by moving grills above, and five a side along the upstage/downstage edges at deck level for side lighting. The remaining eight were rigged on a circular truss above the revolving B stage - also circular - in the centre of the arena. The fixtures were used extensively throughout the show for a variety of scenes and effects, including big rock looks to highlight dramatic moments and punctuations in the set.
The WTFs were positioned on three automated upstage lighting pods, arranged in a 3x3 matrix pattern, so nine per pod, with the remaining fifteen along the front edge of the most downstage of the mid trusses, pointing out into the arena for max impact. Patzenhauer used the WTF for strobing, blinding, pixel mapping and washing.
The stage design featured five separate slabs of LED screen. Four stage lift platforms - custom-built by Gradior - at the front elevated four of the band up and outwards towards the audience. On the B stage, connected to the main stage via a runway, were five industrial robot arms of two different sizes - normally found in the automotive industry.
The smaller robots were on the downstage edge of the B stage, with the larger ones on the upstage edge. They held two different types of objects - either circular mirrors or “diamond” deco pieces comprising a half sphere covered with cut mirrors. These were placed to create show-stopping effects in conjunction with being zapped by the iBolts on the truss above. The robot arms were used during six songs in the set.
The five BMFL WashBeams were on the front truss, where they could hit the band at acute angles without any unsightly light spillage on the stage. From both a creative and production perspective, this saves on having spot chairs and people on the truss, which is much safer and a more comfortable working environment for the operators.
Patzenhauer programmed the show himself using an Avolites D7 console. He had started his programming/operating/designing career using Avolites twenty-five years ago, and says he was very pleased to be reunited with the brand on this tour. He also purchased his own T3 Wing recently. According to Patzenhauer, Lucie’s 40th anniversary gigs were preceded by approximately one year of preparation.
(Photos: Marko Polasek)
„Light of Creation“-Show in Wiener Votivkirche mit MA Lighting, Martin und Prolights inszeniert
„Light of Creation“ - eine etwa 30-minütige Show, die in sechs Akten die Schöpfungsgeschichte erzählt - verwandelt derzeit die Wiener Votivkirche in eine immersive Licht- und Klangwelt. Produzent und Opernsänger Max Emanuel Cencic hat dafür ein internationales Kreativteam um sich versammelt.
Der Emmy-prämierte Komponist Adam Lukas zeichnet für die Musik verantwortlich, MP-Studio unter der Leitung von Marin Petkov für den Videopart, das Lichtdesign stammt von Georg Fuchs. Gemeinsam schufen sie ein Erlebnis, dass sakrale Architektur und moderne Showtechnik zu einer Erzählung verbindet.
Die neugotische Votivkirche ist dabei weit mehr als bloße Kulisse. Architektur, Proportionen und Material bestimmen maßgeblich, wie Licht, Projektion und Technik eingesetzt werden können. Den Machern sei schnell klar geworden, dass sich die Show respektvoll in die vorhandene Substanz einfügen müsse, berichten sie.
Sichtbare technische Elemente wurden deshalb gezielt zurückgenommen: Scheinwerfer im Publikumsbereich erhielten maßgefertigte Verkleidungen, Traversenkonstruktionen wurden als Sonderanfertigungen gestaltet und formal an die Linien und Ornamente des Kirchenraums angelehnt.
Der Großteil des Lichtdesigns in der Kirche basiert auf statischen Scheinwerfern. Im Zentrum der Gestaltung steht der Altarraum, der dramaturgisch den Kern der Schöpfungserzählung bildet. Hier ergänzte Georg Fuchs das Setup um sechs Martin Mac Aura XIP sowie sechs Prolights Astra Hybrid330 für zusätzliche Flexibilität. Diese Geräte übernehmen sowohl die Ausleuchtung des Altars als auch die Anbindung an die großformatigen Projektionen, die sich über den gesamten Kirchenraum erstrecken.
Die Martin-Mac-Aura-XIP-Washlights sind in erster Linie für die atmosphärische Modellierung des Altars verantwortlich. „Mit den Mac Aura XIP variiere ich die Wahrnehmung des Altars über Winkel, Intensitäten und Farbstimmungen“, sagt Fuchs. „Licht und Videocontent verschmelzen vollkommen - die Looks wirken wie aus einem Guss.“
Für markante Akzente, vertikale Raumzeichnung und die Betonung architektonischer Details nutzt der Lichtdesigner Prolights’ Astra-Hybrid330-Moving-Lights. „Im Spot-Modus hebe ich damit Fresken an der Kirchendecke hervor oder erzeuge während des Einlasses subtile Texturen im Raum“, erläutert Fuchs. „Die Geräte schaffen damit bereits vor Beginn der eigentlichen Show eine stimmige Atmosphäre.“ Ein ausschlaggebender Grund für die Wahl des Astra Hybrid330 sei die Performance der Geräte auch ohne Haze gewesen - ein wichtiger Faktor in einem sakralen Umfeld, in dem Nebel nicht immer gewünscht oder möglich sei.
Gesteuert wird das gesamte Lichtsystem über ein GrandMA3-System. Programmiert wurde die Show auf einer GrandMA3 Light, das Playback läuft auf einer GrandMA3 Compact. Das Videosystem basiert auf mehreren Medienservern, die alle Video- und Audiosignale ausgeben und zugleich den Timecode liefern, der die GrandMA3-Steuerung synchronisiert. Ein Stream Deck ermöglicht es, die Show mit einem Tastendruck zu starten und zu stoppen, ohne sich in der Tiefe mit der Komplexität der Steuerung auseinandersetzen zu müssen.
Die Entscheidung für Martin Mac Aura XIP und Prolights Astra Hybrid330 sei gefallen, nachdem Fuchs gemeinsam mit Max Emanuel Cencic mehrere Shootouts durchgeführt hatte, bei denen verschiedene Geräte hinsichtlich Lichtqualität, Flexibilität, Baugröße und Wirkung im Raum gegeneinander abgewogen wurden. Das Lightpower-Austria-Team in Ansfelden betreute das Projekt von Beginn an.
(Foto: Light of Creation/Fabian Skala)
Thomas Edwards chooses Robert Juliat Dalis footlights for Raye arena tour
British singer-songwriter Raye embarked on her first ever headline arena tour with “This Tour May Contain New Music”, a 40+ date tour across Europe and North America lasting from January to May 2026. Production and lighting designer Thomas Edwards, of Panglowin, created a lighting design befitting Raye’s vocal splendour, which blends elements of jazz, pop, dance, R&B, and soul, whilst highlighting the singer’s glamorous on-stage presence.
To ensure Raye, her backing vocalists and their rich costumes were highlighted to best effect, Edwards specified nine Robert Juliat Dalis 864 footlights, evenly arrayed along the downstage edge in a continuous arrangement. “This positioning was very intentional, it allowed me to introduce a consistent and controlled uplight across the width of the performance space”, he explains. “The main objective behind this was to enhance the visual impact of Raye and the backing vocalists’ dresses while they were performing.”
“The costumes featured a high level of intricate detailing, textures, embellishments, and layered fabrics that would often become flattened or lost entirely under conventional front lighting”, he continues. “By bringing light in from a low, frontal angle using a linear fixture like Dalis, I was able to reintroduce depth and definition into those details, ensuring they translated clearly to both the live audience and camera.”
“Specifying these fixtures wasn’t just about adding another lighting position; it was about solving a visual problem in a deliberate and elegant way”, Edwards furthers. “Traditional front light tends to prioritise visibility of faces, which is obviously essential, but it can compromise the dimensionality of costumes. The downstage linear uplight acted as a complementary system; subtle enough not to overpower the key light, but strong enough to lift texture and create a more sculpted, dynamic look overall. It became a crucial layer within the broader lighting design.”
Edwards opted for the four-colour Dalis 864 to retain maximum flexibility throughout the show: “With multiple costume changes for Raye and the backing vocalists across different songs, it was important that the lighting could adapt seamlessly to each new look”, he says. “Having precise colour control meant we could fine-tune hues to either match or contrast with the wardrobe, depending on the mood we wanted to create. In softer moments, this allowed for delicate, sympathetic tones that enhanced the garments naturally, while in more energetic or stylised sections, we could push into deeper, more saturated colours to heighten the visual intensity.”
As the tour’s lighting, audio, video and rigging vendor, Solotech supplied and toured the Dalis 864 fixtures on a dedicated dolly system which meant they could be pre-rigged and quickly deployed onto the rolling stage each day with minimal setup time. The tour also featured a substantial camera package, capturing the performance from multiple angles, which introduced an additional layer of consideration in the lighting design.
Strong footlight from the downstage fixtures played an important role here, adding dimensionality to the performers on camera. “Without it, faces and costumes can appear flat when primarily lit from above or the front”, notes Edwards. “The uplight helped separate the performers from the background and gave a more sculpted, three-dimensional quality on screen.”
“The colour temperature of our key lighting for the performers varied depending on the look and feel of each section, typically ranging between 4300 K, 4800 K, 5600 K, and 6000 K”, he concludes. “Having fixtures like the Dalis allowed us to closely match or complement these temperatures. This was particularly important for maintaining consistency within the camera workflow, especially when working with log profiles and LUT-based colour grading. By ensuring that the uplight integrated seamlessly with the key light, we were able to preserve accurate skin tones and costume colours on camera, while still achieving the desired artistic effect.”
(Photos: KG Shoots/Aliyah Otchere)
Colorado Symphony performs DiGiCo reprise with Quantum852 console
Colorado Symphony has been an early adopter of DiGiCo’s SD7, upgraded the console with one of the first Quantum engines to ship to the US in 2019, integrated DiGiCo’s 4REA4 processing system more than one and a half years ago, and now has installed DiGiCo’s new flagship Quantum852 at front-of-house, alongside a Fourier Audio Transform.Engine setup, both supplied by Thornton, Colorado-based Brown Note Productions.
“Purchasing the Q852 was a natural progression for me, trying to stay up with where the technology is going”, says Aric Christensen, Colorado Symphony’s longtime head of audio. “Whenever I see a new product being released by DiGiCo, I want to get in on it.” For Christensen, the most significant feature to stand out when he first laid eyes on the Quantum852 was the surface’s new, larger display screens. “They are more than twice the size of the SD7 screens, and you can have all these different functions represented”, he notes.
“I installed the new Quantum852 in the middle of the busiest part of our season, and people were like, ‘You’re crazy!’”, Christensen laughs. “But I know the software; I know what to expect from all of this.” The SD7 Quantum, previously at FOH in the hall, has been repurposed as a monitor, broadcast, or backup console according to the needs of the production, he reports.
Having said that, he continues, “You start digging into it and, while everything’s familiar, there are a lot of new features here. This thing has more power than I’ve ever had before, to the point where I’m still trying to figure out when and how to utilize some of it.” For example, “I can have individual macros on individual channels”, he says. “I’ve got to figure out how I’m going to introduce that into my workflow.”
As an early adopter of technology under the Audiotonix brands umbrella, Christensen also purchased a pair of Fourier Audio Transform.Engine plug-in servers, which integrate directly with DiGiCo Quantum consoles, some time ago. “I bought two of them so I could do redundancy, but I’m currently only using one through an Orange Box”, he explains. “After I’d had it set up at front-of-house for a while I moved it to a remote location, where it’s tied in over fiberoptics. I’m trying to make my front-of-house position area less crowded and as streamlined as possible, with everything integrated with one unified network system.”
Audiotonix’s support also inspired him to integrate DiGiCo’s 4REA4 processing system in place of the previous backstage 70 V distributed system while also performing an AoIP networking infrastructure upgrade to support Dante and AVB. “I thought, how can I get the level of service that I’m used to with DiGiCo and (US distributor) Group One over all the pieces of equipment that I have in my system, except for maybe the speakers and amplifiers?”, he shares. “I started looking at the 4REA4 and was able to get that done during the network installation. Having all these different audio system components under one umbrella is the smart way to go, I think, and gives me peace of mind.”
While Colorado Symphony mostly performs in the 2,700-seat Boettcher Concert Hall at the Denver Performing Arts Complex in Denver, Colorado, the 80-piece orchestra of full-time musicians also plays outdoor shows regionally and around the country. For those events, Christensen uses DiGiCo’s Convert software to adapt his console’s layout to the console model he rents for the show.
The software also enables Christensen to accommodate the needs of visiting engineers who also work on DiGiCo consoles when their artists collaborate with the orchestra. “I can tell the engineer, I’ve got all these templates that will work for your pop show, and I can just lay you on top of that”, he explains. “Or, if you already have a DiGiCo file, send it to me. Before you show up, I can have that reorganized so it’ll work for both of us. The fact that DiGiCo has a free, offline editor really helps.”
Colorado Symphony has collaborated with Beck, the Beach Boys, and King Gizzard & the Lizard Wizard, amongst others.
Pictured (left to right): Aric Christensen with Media Recording Engineer/A2 Joe Garcia Miranda. (Photos: Amanda Tipton)
Wharfedale Pro XLA makes European debut at Swiss arena event
Wharfedale Pro’s flagship XLA Series line array system has made its first European appearance at a large-scale arena event in Switzerland, delivering audio for a private production in a 5,200-capacity venue.
Coordinated by Swiss distributor Sacher Music, the system design and technical delivery were carried out by Stagepro Technical Solutions S.R.L., in close collaboration with the Wharfedale Pro Applications and Solutions team, who also flew in to provide on-site technical support and training during the preparation and setup days.
The main system featured four hangs of six XLA-308 line array elements, supported by a substantial low-frequency system combining XLA-118Sub (three per hang) in an end-fire arrangement to reduce the bass propagation in the behind empty tribune. Fourteen XLA-221Subs covering 23 meters as a broadside array were also deployed on the floor. Front fill coverage was provided by WLA-112 loudspeakers, with multiple WDG-12 floor monitors for foldback.
In total, the system included twenty-four XLA-308 powered by eight DP-4100N amplifiers, alongside twelve XLA-118Sub and fourteen XLA-221Sub subwoofers, all driven by eighteen DP-2200N amplifiers. Dedicated XLA-Common Fly Frames ensured safe and efficient deployment, while dolly boards supported transport and handling. Additional DP-N Series amplifiers were engaged for system redundancy.
(Photos: Wharfedale Pro)
ChamSys helps Gregory Dutein keep pace with Ultra Vomit
Designer and programmer Gregory “Gru” Dutein from Chirac Design has been reflecting the French parodic metal band Ultra Vomit’s multi-faceted music and stage persona in light since 2017. He describes the essence of their performances this way: “An Ultra Vomit show should be seen as a true burlesque performance. Each song is essentially a tribute to a specific style or artist from the metal, hardcore, punk, or even mainstream scene.”
“Visually, every track has a very distinct identity, reflecting the codes of the style being parodied”, he continues. “At the same time, the show remains very ‘alive’, with constant improvisation and audience interaction. That’s why I always keep live faders ready.”
Although the band plays to a click with some pre-programmed sequences, Dutein runs the lighting manually without timecode to preserve an organic feel, which requires that he maintains tight synchronization between lighting, video, and music. He uses a ChamSys MagicQ MQ70 Compact Console. “We actually started with a ChamSys MQ80, but we were immediately drawn to the MQ70’s compactness and efficiency”, he notes.
Dutein organizes his show files carefully to account for his client’s fast-paced shows. In his first layer, all groups and patterns are, organized vertically with a clear hierarchy (for example: Spots, Spot Back, Spot Front), using color tags in the patch for clarity. Layer two is the programming layer, with extended group views ad color/beam patters.
The third layer is divided into four sections: the top left is devoted to song pages for instant access; the bottom left covers the main cues stack; the top right is the Execute Page; and the bottom right is the Full Group Master access. Dutein also maintains a dedicated programming page to test rigs and rebuild presets quickly, using Playback.
(Photos: Nicolas Leboeuf/Zénith Nantes Métropole)
ESP chooses Coda Audio ViRay for Libera Awards at Gotham Hall
Produced by the Foundation for Independent Music, with support from the American Association of Independent Music (A2IM), the annual Libera Awards honor independent musicians as well as the teams that support them. The Awards have now been in existence for fifteen years.
The 2026 edition took place at Gotham Hall in New York City and featured performances from Mdou Moctar, Valerie June, Dawn Richard, and Aaron Maine of Porches. With a combination of live performances, screened contributions, speeches and presentations, the audio system had to provide consistent sound across different media.
New York-based production specialist Eastern Stage Productions (ESP), the exclusive audio provider for Gotham Hall, chose a Coda Audio system for the event based around the German manufacturer’s ViRay line array.
ESP provided a ground-stacked system comprising five ViRay units per side with four Coda Audio SCV-F 18’’ sensor-controlled subwoofers in cardioid per side. Two Coda Audio CoRay column line source units were added as side-fills, with four Coda Audio Hops8 8’’ point source units as front-fills. The system was powered by two Coda Audio Linus14 and one Linus12C DSP amplifiers with loudspeaker management.
“Gotham Hall is an extremely reverberant space”, says ESP owner Bill Danilczyk. “The Coda Audio system’s accuracy in frequency response on and off-axis allowed us to focus the audio on the audience and keep it away from reflective services. It’s better than any other system we’ve tried in the room over the last twenty-five years.”
(Photos: Coda Audio)
TiMax powers real-time spatial audio for Mercedes-AMG premiere on LA’s Sixth Street Bridge
When Mercedes-AMG transformed Los Angeles’ Sixth Street Bridge into a mock Autobahn for the global premiere of its new all-electric AMG GT model this spring, the audio brief was to track the car in real time as it raced across more than 300 metres of bridge, with spatial precision.
Delivering on that brief was a collaborative effort built around TiMax SoundHub, supplied by PRG. “We were tasked with providing a large Main PA system for the audience with the inclusion of an A-list musical act, but to also include multiple smaller flown systems that would make the audience feel like they were in the middle of it all”, explains Douglas Plander, PRG’s Technical Product Manager - Audio. “Building on our success with TED and ‘Buena Vista Social Club’ (on Broadway), we felt that the TiMax system best incorporated the artist vision and demanding needs of the show.”
Sound designer Anthony Narciso was introduced to deploy the spatial rendering required to realise the creative vision of event sound designer Peter Phillips. For Phillips, TiMax was “the only system that allowed for a completely bespoke approach to spatialising live audio”, which was essential on this project. The AMG GT remained under wraps until a single rehearsal before showtime, meaning the entire spatial design had to be built, and refined without it. Narciso’s pre-production tests proved so convincing that, as he puts it, “several people who heard them actually thought the car was physically present during playback.”
Without access to the car, Narciso mapped over 300 metres of bridge within TiMax Panspace. During pre-programming, he generated around 26 test cues referencing a variety of Image Definitions, fade automations, and movement speeds, ready to evaluate as soon as the bridge system became functional. With the AMG GT off-site, the TiMax built-in playback engine became central to the workflow. Every test cue was run using samples loaded directly into TiMax and refined long before the car arrived on the bridge.
With pre-programming complete, the next step was synchronising cues to the car’s movement on the bridge. As the stunt drivers used a test vehicle to map their speed runs, the team stopwatched when the car would pass specific markers, allowing Narciso to fine-tune timing within TiMax. When the live audio feed from the AMG GT itself came online on event night, the team swapped the source inputs and the programming tracked through perfectly with no further adjustment required.
TiMax also proved decisive when last-minute changes were needed. Speakers were repositioned and the ground plan was expanded to cover additional distance, both handled in minutes with TiMax SoundHub recalculation. After speaker movements were dropped into a scaled ground plan, the Image Definitions were instantly updated without affecting existing work. The team also added localised DJ playback to a dedicated section of the system speakers and used the built-in OSC library to create a custom Stream Deck control panel tailored to the show’s operational needs.
(Photos: Larry Chen/TiMax)
“Pretty Woman: The Musical” debuts d&b CCL system in South Africa
The South African premiere of “Pretty Woman: The Musical”, produced by Showtime Entertainment, has marked the regional debut of d&b Audiotechnik’s CL-Series, deploying the new CCL compact cardioid line array system. The system was supplied by Cape Town-based rental company Eastern Acoustics, supported by local distributor Stage Audio Works (SAW).
The high-energy musical production features a rock-infused score by Bryan Adams and Jim Vallance. South African Sound Designer David Classen chose the d&b CCL system as the centerpiece of his audio design. Single-channel broadband directivity control is the standout technical achievement of the CL-Series, bringing advanced low-frequency cardioid behavior into a compact form factor.
“The CCL system completely transformed how we approached the sound design for Pretty Woman”, says Classen. “In musical theater, stage spill is always the enemy. The passive cardioid behavior of both the CCL tops and the flying CCL subwoofers kept the stage quiet. This clean stage environment gave us significantly more usable gain before feedback than we’ve ever had with a compact rig, allowing the vocals to sit on top of the mix. Combined with d&b’s ArrayProcessing, we achieved even coverage and a consistent tonal balance throughout the entire auditorium.”
To accommodate the venue dynamics, Eastern Acoustics specified: fourteen d&b CCL tops per side for main left/right hangs; six d&b CCL-Subs per side for low-frequency extension; a mix of d&b V-Series and E-Series loudspeakers for fills and center cluster; as well as d&b D25 and D80 digital amplifiers, integrated into a redundant Milan-AVB network infrastructure for digital signal transport.
After its opening season at the Artscape Opera House in Cape Town, “Pretty Woman: The Musical” continued its South African run by moving to the Teatro at Montecasino in Johannesburg.
(Photo: Showtime Management)
Deutscher Musikautor*innenpreis 2026 mit Audiotechnik von Shure realisiert
Der von der GEMA ausgerichtete Deutsche Musikautor*innenpreis 2026 würdigte erneut herausragende Kompositionen und Texte der deutschen Musikszene. Für die Verleihung des Preises nutzten die mit der Durchführung der Veranstaltung betrauten Firmen One Event Germany GmbH und A2B2C AV Live Communication GmbH ein modular skalierbares Audiotechnik-Setup von Shure.
Als technischer Partner verantwortete Shure die Soundqualität in sämtlichen Kategorien und bei allen Laudationen und musikalischen Performances der Preisverleihung. Das Unternehmen setzte dafür auf und hinter der Bühne ein breit aufgestelltes Set aus Funkstrecken, Mikrofonen, Kapseln und In-Ear Monitoring-Lösungen ein.
Für das Monitoring wurde das WMAS-fähige In-Ear-System Axient Digital PSM verwendet, welches im digitalen Übertragungsmodus für eine vollständig digitale Signalübertragung über den gesamten Signalweg sorgte. Ein weiterer zentraler Bestandteil des Setups waren Axient-Digital-Funkstrecken mit KSM11-Kapseln für die Sprach- und Gesangsübertragung.
Auch bei der Instrumentenabnahme kam ein breites Spektrum an Shure-Mikrofonen zum Einsatz. Für das Schlagzeug-Setup nutzte das Audioteam unter anderem Beta 91A, Nexadyne 2, mehrere Nexadyne 6 sowie SM57 und KSM137.
„Gerade bei Veranstaltungen mit wechselnden Acts und unterschiedlichen Anforderungen ist ein stabiles Monitoring entscheidend“, sagt Toni Kern, FOH Engineer. „Mit Axient Digital PSM hatten wir ein präzises Stereobild und konnten die Systeme während der Show jederzeit zuverlässig überwachen. Das hat uns im Produktionsalltag deutlich mehr Sicherheit gegeben.“
(Fotos: GEMA/Offenblende/Shure/Michael Wendt)
Turnstile’s live sound engineers choose DiGiCo Quantum
This year, Baltimore-based hardcore punk band Turnstile is once again out on the festival circuit, which kicked off with back-to-back weekends at Coachella in April and also includes performances at Osheaga, Lollapalooza, Outside Lands, Bumbershoot, Shaky Knees, and other North American gigs, plus a heavy roster of international fests.
Jake Lang has been with the band for five years as front-of-house engineer, production manager, and tour manager and now solely focuses on FOH as the group has scaled up. For his choice of instrument, Nashville-based Worley Sound supplied him with a new DiGiCo Quantum326 mixing console.
“I love the Q326 for its transparency”, he says. “I dig being able to mix a variety of bands” - including Alkaline Trio, Movements, and others - “and get consistent results but with vastly different tones and vibes. I’ve previously carried a Q338, but with Turnstile, that’s a lot of console for a five-piece band that has a fairly low channel count, so the Q326 has been exactly what I’ve needed.”
“I appreciate being able to tip the board with just one other person, and I can run the whole show off of a single layer”, he continues. “We really keep it simple: no playback, no click. We occasionally have someone pop in with a guest vocal or instrument, but we’re pretty straightforward. I mostly mix into groups, and between that and using control groups, I don’t really have to bounce around between layers.”
At the other end of the Optocore loop is monitor engineer Chris “Chop” Mateer, who moved into his current position with the band in December 2025. His console of choice is the DiGiCo Quantum338, also provided by Worley Sound. “I’m running five IEM mixes for the band, plus seven that cover our crew and guests, for a total of twelve mixes of Shure Axient Digital PSM”, says Mateer.
“We have live cabs onstage, but the band is all on ears, plus there’s a thumper for our drummer”, he adds. “We’re also doing a fair bit of con sends and receives with the DiGiCos for things like IEM mixes for our lighting and video crew at FOH, talkbacks from FOH to me, and for Jake sending his mix back to the stage so I can share it to friends-and-family fills onstage. Our stage gets pretty crowded with guests and we want them to have the same experience as the crowd.”
“Between the Mustard, Spice Rack, and Nodal Processing I’ve been able to stay entirely in the desk and haven’t had to reach for any outside solutions yet”, Mateer furthers. “It makes it really simple for whenever we might need to source consoles locally for a one-off or something. I just need to get a Quantum in front of me and I’m all good.”
Lang adds that he uses Fourier Audio’s Transform.Engine to deploy plugins live. “I started using Fourier when we began working with Worley Sound last year. I initially started with Oeksound’s Soothe Live and Valhalla’s reverbs and very quickly knew that I’d never go back”, he laughs. “I feel like I’ve barely scratched the surface with Fourier’s options.”
Pictured (left to right): Jake Lang, Chris “Chop” Mateer. (Photos: DiGiCo)
ADJ 40 Hex Panel IP fixtures illuminate Revolve Festival
The ADJ 40 Hex Panel IP played a central role in the lighting design for this year’s Revolve Festival. Integrated throughout the carnival-inspired stage design, the IP65-rated fixtures were used to generate bold visual accents, dramatic mood shifts and eye-catching effects for performances by Don Toliver and other artists.
Held during the first weekend of Coachella in Thermal, California, the ninth annual Revolve Festival once again delivered an exclusive blend of live music, fashion, celebrity culture and immersive production design. Hosted by fashion retailer Revolve, this year’s invite-only event adopted “The Grand Revivre” as its creative theme, transporting guests into a stylized carnival-inspired environment filled with performances, games and experiential brand activations.
Returning for the third consecutive year as Production and Lighting Designer, Jeff Behm created a visual environment centered around a circular stage design and large curved video wall backdrop. Production for the event was handled by Production Arm, while lighting equipment was supplied by Volt Lites. To deliver visuals capable of cutting through the bright California desert daylight, Behm selected ADJ’s new 40 Hex Panel IP fixtures as a key component of the lighting system.
“This year’s festival had a carnival theme, so we pushed into that with a circular stage element and large circular truss above”, explains Behm. “We filled both the truss and stage floor with lots of whimsical elements and used plenty of eye candy fixtures to give punches of color and visual effects that looked good during the daylight. Since this is a daytime event, with the headliner performing at dusk, I had to be mindful of what would look good even in full daylight.”
A total of 56 of the 40 Hex Panel IP fixtures were deployed throughout the stage design. Twenty-four units were positioned along the upstage truss supporting the large curved LED wall that formed the backdrop of the stage, while a further 32 fixtures were mounted along the inside of the circular overhead truss positioned above the performance area. Used for bold color washes, dynamic pixel effects and high-impact visual accents, the fixtures helped reinforce the carnival-inspired aesthetic while maintaining visibility throughout the daytime event.
The Revolve Festival lineup featured a headline performance from Don Toliver alongside appearances from Mustard, Chase B, Baby J, Kitty Ca$h, Kehlani and surprise guest Mario. The event transitioned from bright afternoon sunshine into dusk.
“It was my first time using the 40 Hex Panel IPs”, says Behm. “I made use of the full pixel zone control, using the ten separate segments to create different patterns and looks. I was able to create that brightness and real punch during the times it was needed as well as more subtle moments when they were called for. I also used them to create big mood changes when we switched between screen content and different artists.”
(Photos: ADJ)
