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Prismic setzt über 100 GLP JDC1 auf Russell-Dickerson-Tour ein
Russell Dickersons „RussellMania“-Tour, auf der der Sänger und Gitarrist Arenen, Outdoor-Amphitheater und Festivals in ganz Nordamerika bespielt, zählt zu den ambitioniertesten Country-Produktionen des Jahres. Für Dickerson bedeutet die Tour einen deutlichen Schritt nach vorn, sowohl in der Größe der Produktion als auch im visuellen Anspruch. Eine zentrale Rolle im Lichtdesign spielen JDC1-Hybrid-LED-Strobes von GLP.
Das Design, die Programmierung und die kreative Gesamtverantwortung liegen bei Nick Chang, Inhaber sowie Lighting und Production Designer von Prismic Productions. Unterstützt wird er von Chris Diener, der als Projektmanager und kreativer Partner in die Produktion eingebunden ist. Production Manager Zander Scott hatte Chang sechs Wochen vor Beginn der Produktionsproben in das Projekt geholt; in dieser Zeit mussten das komplette Lichtdesign entstehen, zwanzig Songs programmiert und die visuelle Ausrichtung der Tour finalisiert werden.
Das GrandMA3-Showfile wurde von Anfang an so aufgebaut, dass es sich schnell auf große Festival-Setups übertragen ließ. Das Materialpaket stellte das Team gemeinsam mit Christie Lites zusammen. Der visuelle Content entstand in enger Abstimmung mit Tour-Content-Creator Andy Reuter, um zu gewährleisten, dass Licht, Video und SFX über die gesamte Show hinweg geschlossen wirken.
Die 108 JDC1 verteilen sich über das gesamte Rig. Sechs gefächerte, angewinkelte Finger-Traversen tragen jeweils auf der Downstage-Seite einen vertikalen Truss-Stick, der mit elf JDC1 sowie weiteren Scheinwerfern bestückt ist. Zwei seitlich der Videowand platzierte Truss-Tower sind mit jeweils acht JDC1 bestückt. Im Upstage-Floor-Package kommen acht weitere JDC1 zusammen mit zusätzlichen Fixtures zum Einsatz. Weitere achtzehn JDC1 sind direkt in die Riser und Set-Elemente integriert.
Chang nutzt die Pixel-Mapping-Funktionen des JDC1 während der gesamten Show. Über die 12-Segment-Ansteuerung aller 108 Geräte kann er von Song zu Song zwischen subtilen Sparkle-Effekten und aggressiven Chases über das gesamte Rig wechseln. Besonders wertvoll sei diese Flexibilität, weil die Produktion stark vom Schlagzeug geprägt sei: „Die JDCs erlauben mir, unterschiedliche musikalische Elemente innerhalb eines einzigen Fixtures getrennt voneinander abzubilden“, so Chang. „Ich setze den Strobe für Snare-Hits ein, die Color-Plate für Kick-Akzente und die Pixel-Effekte, um Übergänge und Entwicklungen innerhalb der Songs zu unterstützen. Dadurch kann das Lichtsystem gleichzeitig groß und detailreich wirken - genau das, was diese Show braucht.“
Das Design bildet die ganze Bandbreite von Dickersons Repertoire ab: von energiegeladenen Hymnen bis zu persönlicheren Songs im Midtempo. Laut Chang soll das Licht diese Dynamik mitgehen können, ohne beliebig oder überladen zu wirken. „Wir wollen nicht, dass sich die Show wie permanentes Blitzen um des Effekts willen anfühlt“, sagt er. „Jeder Lichtcue, jeder Video-Moment und jeder visuelle Akzent wurde so gesetzt, dass er Emotion und Energie der Musik sinnvoll unterstützt.“
Die „RussellMania“-Tour 2026 läuft noch bis Oktober durch die USA und Kanada.
(Fotos: Thomas Heney)
Otterbach Audio wählt Coda-Audio-System für Green Hell Festival
Beim Green Hell Festival in Lindenberg (Siegerland) nutzte das für die Beschallung verantwortliche Team von Otterbach Audio ein System von Coda Audio. Gemeinsam mit NPB Veranstaltungstechnik realisierte das Unternehmen um Dirk Otterbach eine Lösung, in deren Mittelpunkt das kompakte Doppel-10-Zoll-3-Wege-Line-Array-System CiRay und SCP-Subwoofer standen.
Otterbach Audio trägt bereits seit der ersten Ausgabe des Festivals die technische Gesamtverantwortung. Mit dem steten Wachstum des Events seien auch die Anforderungen an Planung und Umsetzung kontinuierlich gestiegen. Neben der eigentlichen Beschallung gehören unter anderem Signalverteilung, Dante-Infrastruktur, Systemdesign, Einmessung sowie die technische Betreuung der Produktionen zum Aufgabenbereich des Otterbach-Teams.
„Für uns geht es nicht nur darum, eine PA aufzustellen, sondern ein belastbares Gesamtsystem zu entwickeln, das über mehrere Festivaltage zuverlässig funktioniert und unterschiedliche Produktionen optimal unterstützt“, erklärt Dirk Otterbach. In diesem Jahr kamen zweimal acht CiRay-Module (Main PA), sechzehn SCP-Subwoofer (in einem Cardioid-Bass-Array) und sechs G712-Pro (Nearfill) zum Einsatz. Angetrieben wurde das System von sieben Linus14D-Verstärkern.
„Die Tieftonverteilung war die größte Herausforderung“, sagt Otterbach. „Mit dem Cardioid-Bass-Array aus sechzehn SCP konnten wir aber genügend Druck vor der Bühne erzeugen und gleichzeitig die rückwärtige Abstrahlung wirkungsvoll reduzieren. Coverage und Impulsantwort entsprachen dabei genau unseren Vorstellungen.“ Erwartungen, die auf den Ergebnissen des Coda System Optimisers basierten: „Ein sehr wichtiges Tool. Simulation und Ergebnis vor Ort lagen sehr nah beieinander“, so Otterbach.
(Fotos: Sebastian Bähr/Coda Audio Deutschland GmbH)
Robert Rogojinschi lights up Concert-R birthday show with Chauvet’s Color Strike M
Stefan Relu Mihalache, better known throughout Romania and much of Europe as Concert-R, turned 44 on June 9, 2026. The former Eurovision contestant and chart topping singer-rapper celebrated by performing a sold-out concert for fans, just as he’s done for the past seven years.
Held at Bucharest’s Palace Hall, “Ziua lui Stefan” (The birthday of Stefan), the two-and-a-half-hour-plus show was an energetic and emotional production celebrating what Concert-R calls “Urban Lautaresc, a beautiful fusion of urban and fiddle music”.
Setting a lively and engaging atmosphere for the show, while reflecting the range of music performed on stage was a lighting design by Robert Rogojinschi that featured twenty Chauvet Professional Color Strike M motorized strobe-washes supplied by Set-Up. Matching his lighting with video content from his collaborator Claudiu Stan, Rogojinschi created looks that were not only festive, but also reflective of the music being performed on stage.
“Half of the show was timecoded, and half was live busked”, says Rogojinschi. “I work well with Claudiu, who not only created the video content, but also operated the show. We really wanted to have live cameras transmit feeds on certain sides of risers to provide the best possible dynamics to the show.” Rogojinschi also wanted to accent the traditional Balkan brass music element of the show. In addition to providing dynamic eye candy for the birthday concert, the Color Strike M fixtures also did justice to the show’s more classical elements, he says.
Positioning eight units on the front truss and the remainder on four risers, Rogojinschi used the motorized fixture to create everything from dynamic strobing effects to bold monochromatic washes. “The Color Strike M played many roles”, he notes. “I set them up the way I did because I wanted each instrumentalist to have his or her ‘own stage’. We had these artists in a position that was at a good height, so they would not be hidden or masked in the background of dancers or choir. We wanted them to be seen in their true consistency and performance throughout the show.”
“Naturally, we also wanted to highlight Concert-R, who is beloved in Romania”, he adds. “This was a national celebration, and I was very honored that our lighting was part of everything.”
(Photos: Chauvet Professional/Petru Ivu)
Shure-Audiotechnik bei „MJ - Das Michael Jackson Musical“ im Einsatz
Seit Dezember 2024 läuft das Broadway-Musical „MJ - Das Michael Jackson Musical“ im Hamburger Stage Theater an der Elbe. Für die Umsetzung der Show sorgt unter anderem Audiotechnologie von Shure, darunter Axient-Digital-Drahtlossysteme mit ShowLink-Funktion sowie die Mikrofonkapseln KSM11 und KSM9. Kontrolle über ausgewählte Drahtlossysteme gewährleistet die Wireless-Workbench-Software von Shure.
Die Axient-Digital-Funkstrecke wurde speziell für anspruchsvolle Live-Produktionen entwickelt und bietet eine hohe Anzahl parallel nutzbarer Kanäle, um ein großes Ensemble, wechselnde Besetzungen und zahlreiche Rollen abzubilden.
Mittels ShowLink können Audiotechniker relevante Parameter der Sender in Echtzeit fernsteuern. Dies ist vor allem bei dynamischen Szenenwechseln und spontanen Anforderungen während der Vorstellung von Bedeutung. „Die ShowLink-Funktion macht den Workflow im laufenden Musicalbetrieb einfacher und effizienter“, so Marcus Giesen, Leitung Ton, Theater an der Elbe Produktionsgesellschaft mbH.
Wireless Workbench, Shures kostenlose Software für professionelle Audio-Anwendungen, fasst umfangreiche Funktionen zur Verwaltung des HF-Spektrums an einem Ort zusammen, damit Anwender die volle Kontrolle über ihre kompatiblen Drahtlossysteme behalten können.
In Kombination mit High-Tier-PSM-Systemen werden mittels Wireless Workbench Frequenzen berechnet, zudem lassen sich Konfigurationen je nach Setup auf der Bühne sichern und wiederherstellen, und kritische Systemereignisse werden in Echtzeit angezeigt. Damit ist die Software insbesondere für Produktionen geeignet, die schnelle Umbauten und wechselnde Besetzungen verlangen.
(Foto: Matthew Murphy/Stage Entertainment)
Robert Juliat’s SpotMe and Lancelot followspots selected for “The Lost Boys” musical on Broadway
Lighting Designer Jen Schriever and Associate Lighting Designer Aaron Tacy are using Robert Juliat’s SpotMe performer tracking system and three Robert Juliat Lancelot followspots on “The Lost Boys”, Broadway’s Tony Award-winning musical based on the 1987 vampire film of the same name. Schriever won a Tony for her work on “The Lost Boys” with Co-Lighting Designer Michael Arden, who was nominated for a Tony for directing the musical.
Schriever had used remote followspot systems previously but was concerned about their ability to keep up with “The Lost Boys” performers moving rapidly about the stage. “We needed to keep reaction time as tight as possible and thought it would be more accurate for operators to be hands-on instead of going through the camera on a remote system”, she explains. “And operators enjoy having their hands on the followspots, so SpotMe seemed to be the way to go.”
While Schriever and Tacy were researching systems available in the marketplace, Robert Juliat connected them with ACT Entertainment’s Miles Dudgeon (ACT is the exclusive distributor of Robert Juliat lighting in North America) to discuss how SpotMe works and stage a demo with rental vendor Christie Lites New York.
“We brought the whole team to the demo”, Schriever recalls. “As a lighting designer I was not only thinking about ideas for designing the show but also how to move fast and get the show done. I was nervous about using something new, but SpotMe was easy to use and pretty seamless to integrate. ACT and Christie coordinated to customize SpotMe for our operators, and I know they were grateful for that support.”
Schriever had worked as an associate with multi-Tony winning Lighting Designer Brian MacDevitt when he chose Robert Juliat D’Artagnan fixtures for the 2004 revival of “Fiddler on the Roof”. But “The Lost Boys” marked her first time using Robert Juliat Lancelot followspots, three of which are active in the followspot booth at the Palace Theatre. They are provided by Christie Lites.
“We spot the cast throughout the show”, says Tacy. “The Lancelots are on for almost the entire show and are very busy working at various levels”, adds Schriever. “It’s a mysterious and dark show so we have a lot of finesse to reveal and conceal tricks - there’s no time to rest.”
(Photos: Matthew Murphy)
Steven Young turns to Elation’s Paragon and Proteus Odeon luminaires for “Mean Girls”
Steven Young, Principal Designer and Director of Design at Visual Terrain, brought the musical “Mean Girls” to life in La Mirada, California, using a dynamic rig of Elation lighting solutions, including the Paragon S LED profile, along with Proteus Odeon, and Pulse Bar fixtures. The production took place at the 1,250-seat La Mirada Theatre for the Performing Arts, home to McCoy Rigby Entertainment’s annual season of theatrical productions.
“Mean Girls” ran on Broadway for over two years and has since toured extensively. For Young, whose collaboration with McCoy Rigby Entertainment spans two decades, the comedic production is one he has engaged with for years. Young’s prior work on “The King and I” at La Mirada in 2023, in which he used Elation’s Proteus Lucius LED profile moving head, directly influenced the theatre’s decision to invest in Proteus Odeon fixtures the following year. The Odeons were sold to the theatre by Pacific Coast Entertainment.
La Mirada’s ongoing technical upgrades are led by Master Electrician Melissa “Mo” Skau, who has been instrumental in modernizing the venue’s production infrastructure. “There’s been a diligent effort on Mo’s part to create a better working environment for visiting designers”, says Young, “and this was part of that effort.”
To light “Mean Girls”, Young deployed a blend of house and rental inventory: seventeen Proteus Odeon house fixtures installed across four electrics, six Paragon S fixtures rented from BCT Entertainment positioned on stage booms, and Pulse Bar units supplied by Elation for evaluation and creative use.
The Proteus Odeon were a central element of the design. “We worked in CRI Flex mode, which was really helpful because the project included both naturalistic looks and more heightened theatrical moments with increased brightness”, says Young. “The difference isn’t as important when lighting scenery, but when it comes to skin tones, color rendering becomes much more critical.”
Young used most of the Odeon’s design tools and graphics to shape environments and transitions, including framing, gobos, and animation. “The framing shutters allowed us to create ‘boxes’ that we used extensively, for example in the high school classroom space, runways, and other small areas. We also used all of the gobos that came with it and tried to vary the looks as much as possible.” A key moment in the show, the song “World Burn”, was enhanced using the fixture’s animation wheel to create fire-like movement across the stage, while frosts delivered a soft wash that Young says “came in very handy”.
The Paragon S fixtures were used as side lighting from booms, three per side. “The Odeons were too heavy for boom positions, so the Paragon S was the perfect solution for the tight set - smaller and about half the weight”, says Young. Used in extended mode, the Paragons provided gobo projection and flexible focus control.
“We were able to cut the light off the floor but still light the actors and some of the scenery with them”, Young explains. “It was nice to have sharp, focused gobos on people during transitions, and then when the scene started, we would throw those gobos out of focus so that they created a soft wash. It was great to use some of the fixture’s focus capabilities to help reinforce the story.”
Young describes how the Pulse Bar fixtures were used to recreate and reinterpret one of the show’s most iconic visual moments: “In the original Broadway production, there’s a moment where the main character photocopies different parts of a book, and the light from the Xerox machine was such an iconic look. We wanted to do something different, so we used a phone with a giant strobe flash from the Pulse Bars across the stage. The actor was lit with a bit of sidelight and a follow spot, and then that flash would hit.” The moment was executed in white light using the Pulse Bar’s cool white LEDs, while elsewhere in the show Young also used their RGB capabilities to color other scenes.
Color play was also a defining element of the design, particularly the show’s signature pink palette. “There are so many variations of pink in the show”, says Young. “We used eight different shades, ranging from very deep pink to very light pinks, so that we were so close to skin tones it was barely noticeable. The color could be very bold, but also incredibly subtle. We really had to mix those and the Elation fixtures did that wonderfully.”
“Mean Girls” ran from April 11 through May 3, 2026. Alongside Steven Young and Melissa Skau, the crew included Madeline Miller (Assistant Lighting Designer), Dana Solimando (Director/Choreographer), Rodrigo Varandas (Associate Director/Choreographer), Stephen Gifford (Scenic Design), David Murakami (Projection Design) and Adam Ramirez (Costume Coordinator).
(Photos: Stephen Gifford/Jason Niedle)
Eurosono deploys Coda Audio system for “Fusion - La Nuit Rap” at LDLC Arena
“Fusion - La Nuit Rap” was a four hour non-stop live show which took place this year in front of 10,000 fans at the LDLC Arena in Lyon, France. The show featured major French rap and R&B artists, including Gazo, Leto, Franglish,TK, RnBoi, Gambi, and Guy2bezbar, as well as local Lyon talent Nanaa Benz, Berle, and Ness, who played the opening sets. Production supplier Eurosono provided a Coda Audio system based on the manufacturer’s flagship AiRay line array system.
Having been a long-standing owner of Coda Audio line array and point source systems, including an N-Ray system predominately used in corporate events, Eurosono made a recent investment in Coda’s latest CiRay system to target larger scale applications. When the “Fusion” opportunity arose at such a large venue, the company was able to upscale its CiRay system and supplement it with AiRay units sourced from partner rental companies across France.
As part of the VCA family of line arrays, CiRay shares the same rigging, cabling, amp racks, and design philosophy as AiRay, allowing Eurosono to combine its existing inventory with the additional array units and extra subwoofers. Eurosono deployed 24 AiRay for the mains, complemented by six CiRay in downfill to ensure consistent coverage across the main audience area.
Two clusters of six SC2-F bass extensions in cardioid end-fire configuration delivered enhanced low end-impact, while 32 SCP-F dual 18’’ subwoofers in cardioid setup provided the desired bass response. Near-field coverage was delivered by an N-Ray frontfill system, with two Hops12T-Pro as outfills. A total of eighteen Linus14D DSP amplifiers powered the system.
(Photos: Coda Audio/Guillaume Perret)
Jakov Jozinovic shows in Ljubljana lit with Robe
Slovenian lighting and visual design studio Blackout created and delivered a 360-degree lighting show for Croatian singer Jakov Jozinovic, who played two sold-out nights at the Stozice Arena in Ljubljana. The team was led by Blackout’s Crt Birsa and included two of his colleagues, Klemen Krajnc and Anze Trstenjak.
They had sixteen days between getting a decision on the design from promoter Vigna PR and the first show. About to depart for a US tour with Lukas Sulic (formerly half of 2Cellos), Birsa handed over the completion and delivery of the project to Krajnc and Trstenjak who finalised everything, programmed the show and ran lighting - Krajnc doing the effects and Trstenjak the keys, white light and specials - for these two gigs.
Slovenian rental company Intralite supplied the thirteen Robe Fortes, 32 iEsprite LTLs, complete with two iEsprite LTL FS versions, 24 LEDBeam150s, 24 MegaPointes, 36 Pointes and 32 Spiider wash beams, together with other lights. Four of the iFortes and the two iEsprite LTL FS versions were used on the two RoboSpot systems, each operator controlling three luminaires and ensconced beneath one corner of the stage adjacent to Dimmer City.
Stozice Arena’s 4x4 central LED cube was utilised for IMAG video on these shows, and the cross-shaped floor comprised four square blocks of video with a centre section that included a stage lift. Thrust extensions at both ends were complemented with staggered level risers left and right of the stage, utilised by the band and for technical areas.
The trussing above the stage used for the lighting positions also shared - thanks to some cooperation - the same rigging points that had been installed two weeks previously for a Fight Nation Championship event. Given the tight timeframe, this was very fortunate. Installing points from scratch in this arena would not have been possible as only one day was available for pre-show access and setup.
Three box trusses provided the main over-stage lighting positions, hung below and within the outer borders of the LED screens, a setup that assisted in imagining the epic, wide-stage, extravaganza-style show that the artist’s management had envisioned. The iEsprite LTLs and MegaPointes were selected as the main effects fixtures, positioned all over the three box trusses, and Krajnc constructed the show’s building blocks relying on these two sets of fixtures. It was his first time using iEsprite LTLs.
The Pointes were used as general beam lights from the stage deck, providing contra-beams, plus plenty of eye-catching prism and gobo work. The LEDBeam 150s provided wash light across the stage centre and into the audience, also as support for the Spiiders when needed.
The majority of the Spiiders were installed on the audience trusses and used to bathe the arena with glowing ambient light and sometimes in beam mode going onto the stage. Eight units were positioned on the smallest box truss and used as front lights, specifically from that angle inside the cube, with four used as theatrical up-light below as the stage lift raised Jozinovic to the stage.
The Fortes key-lit Jozinovic and the band, with one rigged dead centre in the mother grid and used as a dramatic vertical down-beam. Robe’s Forte has been a first choice for key lighting by Birsa, Krajnc and Trstenjak since the fixtures were launched. “They are great for front and top lighting”, says Trstenjak.
While the team did an amount of groundwork in pre-viz, time on site was still essential to make final adjustments and finessing. “As a programmer you must be flexible and adaptable when under this pressure”, notes Krajnc, “and also be able to accommodate changes to the show production right up until the last minute”, which, on this occasion, included additional cryo, pyro and audience LED bracelets, all coming under the lighting department’s control.
(Photos: Simone Di Luca Photography)
Successful Mediatech Africa 2026 expo for Robe
The Mediatech Africa expo returned to Johannesburg, South Africa, for the first time since 2019. Robe lighting showed a range of new products presented by a large international team on their booth in the “DWR Village” area of the expo. DWR is Robe’s distributor for southern Africa. Other Robe Group businesses and brands represented included architectural LED lighting manufacturer Anolis, lighting and visual control manufacturer Avolites, and power distribution specialist LSC Control Systems.
Robe took the opportunity to launch its new LEDBeam 200 product on the African continent. An update to the original LEDBeams 100 and 150, the LEDBeam 200 offers more punch, higher brightness, and richer colours due to an LED engine that is as fast and light in weight as the originals. Also new was Robe’s Arianne6 and Arianne2 LED wash fixtures complete with colour mixing, increased output, plus full IP65/66 ingress protection and simplified maintenance - suited for the African events industry where much of the work is outdoors.
Robe’s stand also highlighted a selection of its current moving light “powerhouse workhorses”, including the new GigaPointe, which was central to the show presentation, together with iEsprite LTLs, iBolts, Svopatts and TetraXs. The stand lightshow was running on an Avolites D7, one of a new generation of Avolites products to hit the market since Robe acquired the brand at the end of 2023.
The “DWR Village” also featured a separate performance area, that staged a live performance show, “Tungsten & Diode”, devised by theatre practitioners Michael Taylor-Broderick and David Gouldie. This illustrated how older and newer technologies and approaches can work together for the greater good of imagining a show, and the lighting for this staging - on a 4-metre diameter stage that descended from the roof - featured Robe TetraXs and iSpiiderX moving lights.
The expo was busy across all three days with a lively audience all keen for information and knowledge about the latest technologies. Robe sent an international team to support specialists from DWR, underlining the importance of the South African market, with CEO Josef Valchar and international sales director Michel Arntz as well as Robe’s key account manager Jeroen van Aalst, who oversees Robe’s business in southern Africa.
Valchar comments that it was “great to be back and to experience the best Mediatech expo to date” and also compliments the organisers in sectioning off the exhibition according to sectors - broadcast, live and events, integration, etc. - which he thinks “defined and focused people’s attention” as they sought out various exhibitors and demonstrations, which included outdoor staging areas.
Arntz states that there was “excellent interest in all our brands”, also mentioning that the quantity and quality of visitors exceeded his expectations. Van Aalst observed that it was “great to be back on the show floor in Africa” and that the levels of knowledge and engagement of industry professionals throughout the region have also risen, together with their appetite and interest in the latest tech. “Overall, it was fantastic to catch up with so many people we knew already and make lots of new contacts”, says van Aalst. “We see events like Mediatech as a vital forum keeping in touch with the needs of this buoyant market and community.”
The Robe team also supported the SOS Chariot fundraising dinner organised by DWR at The Venue in Melrose Arch on the evening of Mediatech’s second day. Organised by DWR to support the industry, SOS Charity is a fund for people - particularly freelancers - working in the entertainment and theatre industry who face hardship because of illness, injury, or other unforeseen circumstances. The dinner included an auction that raised 350,000 ZAR (20,000 Euros) for the fund.
(Photos: Louise Stickland/Paul Clarke)
Ho Chi Minh City’s COVID-19 memorial equipped with gear from Powersoft, Bose and Cisco
Three Powersoft Quattrocanali 4804 DSP amplifiers are at the heart of the audio system installed at the COVID-19 memorial park in Ho Chi Minh City, Vietnam, where Hoang Phu Sound has been tasked with delivering background music that serves both as a tribute to those lost during the pandemic and as an amenity for the surrounding community.
The park is home to “The Tear”, a six-metre reflective stainless-steel sculpture featuring a teardrop form with a heart-shaped void at its centre. Installed in early 2026, the monument honours both the victims of COVID-19 and the frontline workers who served during the crisis. Its stepped circular base incorporates symbolic motifs drawn from Vietnamese culture, and the site is designed to encourage quiet reflection, remembrance and community gathering.
Hoang Phu Sound is a Ho Chi Minh City-based audio systems integrator and Powersoft distributor specialising in the design, supply and commissioning of end-to-end audio solutions across hospitality, commercial and public-sector projects. The company was appointed to deliver the park’s complete audio installation and selected the Quattrocanali 4804 DSP as the amplifier platform for the site.
The project presented a specific set of demands. With the park intended for public use at all hours, the amplifiers were required to operate continuously, 24 hours a day, seven days a week, in an outdoor environment subject to the heat and humidity of Ho Chi Minh City. The scale of the site also called for long speaker cable runs, requiring a high-impedance distribution solution to minimise signal loss. A further consideration was the reliability of the local electrical supply, with the system needing to perform consistently under variable mains conditions.
The Quattrocanali 4804 DSP addressed these requirements. Powersoft’s Power Factor Correction (PFC) technology allows the amplifier to operate stably under fluctuating mains conditions, containing current draw, reducing harmonic distortion on the supply and contributing to cooler operating temperatures.
Additionally, the amplifier’s high-impedance (Hi-Z) output minimises signal loss across extended cable runs. In a distributed outdoor installation of this scale, Hi-Z distribution allows cables to run significant distances without major signal degradation, while enabling simpler wiring than a low-impedance system would require. Powersoft’s patented Smart Rails Management (SRM) technology further improves system efficiency by dynamically managing power rails to match load conditions, reducing energy consumption and heat.
“The Quattrocanali 4804 DSP’s multi-channel architecture allowed us to divide the system into multiple zones”, says Mai Nguyen Hung Truong, technical director at Hoang Phu Sound. The amplifiers’ Power Sharing feature automatically redistributes available power across channels to where it is needed most and operates across channels running at different impedances without any user configuration. Power Sharing provided flexible power allocation between channels, streamlining the system design.
The audio system pairs the Powersoft amplification with Bose Professional loudspeakers and a Bose ControlSpace signal processing and control platform networked via a Cisco Catalyst switch, to deliver background music across the park’s commemorative and communal spaces. For the visitors who gather at Ly Thai To Park, whether in remembrance or simply as part of their daily lives, the audio system provides a consistent, considered presence.
The equipment list comprises three Powersoft Quattrocanali 4804 DSP, one Bose ControlSpace CC-64 Control Center, one Bose ControlSpace ESP-880A Engineered Sound Processor, one Cisco Catalyst C1300-16P-2G, eighteen Bose Professional AMU208, twenty-five Bose Professional FS4SE, and six Bose FreeSpace FS2C.
(Photos: Hoang Phu Sound)
ChamSys delivers everywhere at Download Festival
From the jam-packed District X, to the star studded Avalanche and Dogtooth stages, lighting designers were keeping pace with the revamped Download Festivals’ music by running shows on their ChamSys consoles.
ZigZag Lighting equipped FOHs throughout the festival grounds at Donington Park with ChamSys desks, in addition to providing the lighting kit for all stages except Apex and Opus. PRG supplied kit for the Apex Stage and Siyan for the Opus Stage.
This year, Download continued to hold its title as the “largest rock festival in the UK”, drawing over 100,000 fans. LDs used ChamSys MagicQ consoles to enhance the reenergized festival’s multifarious performances. Running shows on house rigs were the MagicQ MQ500M Stadium console on the Avalanche Stage 3 and Dogtooth Stage 4, as well as the District X Doghouse.
Also utilised at District X were the MagicQ MQ250M Stadium console on The Den, and the MagicQ MQ70 on the Ace of Spades, as well as MagicQ MQ60s on the Hellfire and The Outpost.
Additionally, ChamSys was well-represented on touring rigs at the festival. The USA’s Pete Therrien worked his MQ80 and an Extra Wing for Social Distortion on the Opus Stage. Wiktor Kozak and his Mini Connect covered the tracks of Polish deathcore band Decapitated on the Dogtooth stage.
Then there was Stefan Gunkel with his Stadium Connect for Cypress Hill, Adam McNally with his Stadium Connect for Røry, as she made her Download Festival debut on the Apex Stage, and Richard Wolfgang with his MaxiWing for The Pretty Wreckless at their Sunday Apex show.
(Photos: ChamSys)
22live deploys Martin Audio for Royal Hospital Chelsea events
The recent “Live at Chelsea” concert series took place over five nights in June within the courtyard of London’s historic Royal Hospital Chelsea, attracting audiences of more than 4,000 each evening. Providing the sound reinforcement was UK rental company 22live, which deployed a Martin Audio system comprising WPC main arrays, Torus front fills and WPS sidefills.
Founded by King Charles II and designed by Sir Christopher Wren, Royal Hospital Chelsea has been home to the Chelsea Pensioners since 1692. With the historic buildings and iconic clock tower forming a backdrop, the events were staged in the Figure Court, a 17th-century courtyard that hosted a diverse line-up of artists, including Holly Johnson, Blue, Sparks, The Proclaimers and The Beach Boys.
“It’s unusual because it’s an outdoor event, but the audience is entirely seated”, says Paul Timmins, Hire Director, 22live. “There was tiered seating around the sides and at the rear, so it felt much more like a purpose-built theatre environment.” With an audience area measuring approximately 75 metres square, 22live selected Martin Audio’s WPC Wavefront Precision line arrays as the main system, deploying left and right hangs of twelve cabinets per side.
To provide coverage across the relatively wide listening area, four Martin Audio WPS line array elements were ground-stacked on grids as outfills, while six Torus T1230 constant-curvature array elements delivered front-fill coverage. Low-frequency reinforcement came from eight SXH218 dual 18-inch subwoofers, configured in a compact castellated cardioid array, with five cabinets facing forwards and three facing backwards. The entire system was powered by iKon series amplifiers.
“The audience area is bordered by large stone structures, so we wanted to minimise reflections from those surfaces”, explains Timmins. “We also wanted to avoid directing unnecessary energy into the surrounding buildings wherever possible. Beyond that, the challenge was simply to achieve consistent coverage across the audience area as efficiently as possible.”
“It was an interesting event because each of the five nights featured a different headline artist, with a wide range of musical styles”, he adds. “Most of the artists brought their own engineers. Everyone I spoke to had good things to say about the system.”
(Photos: Martin Audio)
GLP JDC2 IP und Mad Maxx prägen Lichtdesign auf Bad Bunnys Stadiontour
Bad Bunnys im November letzten Jahres gestartete „Debí Tirar Más Fotos“-Tour umfasste bislang mehr als fünfzig Stadion-Shows in knapp zwanzig Ländern auf vier Kontinenten und verlangte nach einem Lichtdesign von außergewöhnlicher Dimension. Verantwortlich dafür war Lighting Designer Marcus Jessup.
Gestalterisch setzte Jessup nicht beim Lichtrig an, sondern bei der Bühne. Für Bad Bunny entwickelte er ein Konzept, das von Kontrasten lebt: große, weit ausgreifende Bilder für die Stadiondimension auf der einen Seite; bewusst reduzierte, beinahe intime Momente auf der anderen. Diese Spannweite zwischen Spektakel und Reduktion prägte die gesamte Show.
Die Größe der Venues habe enorme gestalterische Möglichkeiten eröffnet, aber auch hohe Anforderungen an Kontrolle und Dosierung gestellt. Denn ein Stadion schluckt viel Licht. Entscheidend sei deshalb nicht allein, wie viel Leistung ein Rig zur Verfügung stellt, sondern wann diese Leistung ausgespielt wird - und wann nicht.
Für die internationalen Shows nutzte Jessup zwei Lichtlösungen von GLP, die zu zentralen Werkzeugen seines Designs wurden: 136 JDC2 IP und vierzehn Mad Maxx. Letztere waren im Design „für die ganz großen Szenen“ zuständig. Mit einem Output von bis zu 68.000 Lumen aus einem Array von neunzehn LEDs erzeugte der Scheinwerfer massive Lichtsäulen, die sich über die gesamte Stadionbreite hinweg behaupteten und Lichtbilder weit in den offenen Himmel zeichneten. Wurden die vierzehn Mad Maxx synchron nach oben gefahren, wirkte dies weniger wie ein klassischer Moving-Head-Look als vielmehr wie ein architektonisches Element aus Licht.
Während der Mad Maxx die vertikale Größe und Reichweite des Designs bestimmte, lieferten die JDC2 IP dessen rhythmische Struktur. Der hybride LED-Scheinwerfer kombiniert einen weißen Strobe mit RGB-Farbflächen und unabhängig steuerbaren Segmenten. Durch die zonenbasierte Ansteuerung lassen sich interne Animationen, Bewegungen und grafische Abläufe erzeugen, um dem Design Tiefe und Dynamik zu geben.
In energiegeladenen Passagen sorgte der JDC2 IP für harte Akzente, starke Silhouetten und präzise rhythmische Impulse. In den ruhigeren Momenten ermöglichte er feinere Farbverläufe, grafische Muster und kontrollierte Bewegungen, die das Bühnenbild strukturierten. Trotz der enormen Dimension blieb das Lichtdesign bewusst musikorientiert: Die eingesetzten Scheinwerfer sollten die emotionale Dramaturgie der Show tragen, nicht überdecken.
(Fotos: Evangelina Bertelllo/Movingthroughspaceof)
DiGiCo Quantum 338 and Quantum 5 chosen for Laufey world tour
Icelandic singer-songwriter Laufey’s “A Matter of Time” tour started in 2025 and will conclude in August 2026. At front of house, Matt Grabe is using a DiGiCo Quantum 338, while monitor engineer Sebastian Mut began the tour with a Quantum 338, but expanded into a Quantum 5 for later dates. All consoles are supplied by Sound Image, a Clair Global brand.
Grabe started engineering and mixing in studios. Twelve years later, a good friend, front-of-house engineer Shane Haase, took him out on tour as system engineer for Alabama Shakes. He worked for a variety of artists over the next seven years, but it was not until another friend asked him to fill in mixing that he took the plunge and returned to a console position. He has been working with Laufey since 2024 and DiGiCo has always been his manufacturer of choice. “I didn’t start using Quantum features until recently, but now MSE and Spice Rack are in use on every file”, he shares.
Mut began his training in houses of worship before moving into touring. He started with Laufey in 2024 and has been using DiGiCo consoles throughout his career. He has consistently chosen DiGiCo for the past three years. “We swapped to the Q5 for Laufey’s Coachella performance”, he says. “The Q338 and Q5 are fantastic monitor consoles. The most useful features for me have been the Snapshot and automation functionality, as well as the Spice Rack, specifically Naga 6. With all the international travel on this tour, being able to keep everything in a slim package that can be replicated in a new region quickly has been important for us.”
Depending on the type of show, the engineers will either take their own equipment, or pick it up locally. “We travel with the control package, desks, I/O, mics and instrument DIs”, details Grabe. “On occasion, we fly into a duplicate of that system. It’s daunting to recreate as we are near fully loaded on four SD-Racks, a MiniRack, and over fifty channels of RF. The set has a string quartet, a jazz trio on the B-Stage and even a moving Steinway grand piano.” At solo dates, they convert the show file to whatever SD or Quantum desk is provided locally, he adds.
Laufey’s style is pure and deliberate, with Grabe using a very light touch in terms of processing. He prefers to rely on the faders to ride dynamics, rather than heavy gating or compression, ensuring every detail is heard with natural clarity. At the monitor position, Mut has a similar methodology, using the Fourier Transform.Engine as his dedicated choice for plugins, as required. “Having Snapshot recall between the Transform.Engine and the console without any extra hardware or programming is really useful”, he states.
(Photo: DiGiCo)
Riedel und Arri unterstützen Eurovision Song Contest mit Cinematic Live Production
Zum ersten Mal in der Geschichte des Eurovision Song Contest (ESC) kamen Alexa-35-Live-Kameras von Arri als komplettes Hauptkamerapaket für eine Cinematic Live Production zum Einsatz. Die technische Grundlage dafür bildete eine Diva+-Infrastruktur von Riedel Communications.
Die Übertragung an über 132 Millionen Zuschauer in mehr als 35 teilnehmenden Gebieten erfolgte durch den Österreichischen Rundfunk (ORF). Als ESC-Host-Broadcaster für die Europäische Rundfunkunion (EBU) verfolgte der ORF das Ziel, einen cinematischeren Look mit größerer Nähe zu den Künstlern zu schaffen und gleichzeitig die operative Robustheit einer klassischen Live-Übertragung zu erhalten. Riedel und Arri arbeiteten eng zusammen, um die Kinokameratechnologie von Arri in einen traditionellen OB-Workflow zu integrieren. Dabei wurden sie von NEP und weiteren Technologiepartnern unterstützt.
„Eine Cinematic Live Production funktioniert nur, wenn kreative Ambition und technische Zuverlässigkeit in einem integrierten Ökosystem zusammenkommen“, sagt Lutz Rathmann, CEO Managed Technology, Riedel Communications. „Beim Eurovision Song Contest bildete Diva+ die Grundlage dafür, Arris filmische Bildqualität zuverlässig im Maßstab eines globalen Live-Events einzusetzen. Gemeinsam haben wir gezeigt, dass eine neue Bildsprache für Live-Unterhaltung produktionsreif ist.“
Riedels Diva+-Infrastruktur vereint Daten, Intercom, Video und Audio in einem einheitlichen Produktionsnetzwerk - mit drahtlosen Easy5G-Erweiterungen und Steuerungsfunktionen, unterstützt durch Human Interface (HI). Die Diva+-Installation in Wien umfasste rund sechzig MediorNet-Frames und mehr als achtzig Netzwerk-Switches sowie über elf Kilometer Glasfaserkabel im gesamten Veranstaltungsort.
Die Kommunikationsebene basierte auf Artist-1024-Intercom-Knoten und umfasste mehr als 190 drahtlose Bolero-Intercom-Beltpacks, über 120 SmartPanels sowie rund 650 Funkgeräte mit mehr als sechzig Funkkanälen, vier digitalen Basisstationen und sechzehn analogen Repeatern. Der internationale Kommentator-Workflow wurde durch 35 Kommentator-Panels unterstützt und umfasste zudem Riedels neue Desktop-SmartPanel-Commentary-Panel-App. Drahtlose Easy5G-Erweiterungen für Virtual SmartPanels sorgten für zusätzliche Flexibilität in der Diva+-Umgebung, während das HI ausgewählte Steuerungs- und Orchestrierungsaufgaben innerhalb des Setups übernahm.
Das MediorNet-Backbone verband spezielle Kamerasysteme - darunter Cable Cams, Teleskopkräne, drahtlose Steadicam-Rigs und ferngesteuerte Dollies - sowie Intercom-, Tally- und Return-Signale. So konnte die neue Kameraplattform integriert werden, ohne die deterministische, latenzarme Signalebene zu beeinträchtigen, die während der Live-Show erforderlich war. Insgesamt kamen 24 Arri-Alexa-35-Live-Kameras an klassischen Kamerapositionen und in Spezialkamera-Anwendungen zum Einsatz.
NEP fungierte als Partner für die OB-Integration und brachte Broadcast-Expertise, Ü-Wagen-Infrastruktur und Kamera-Ausrüstung ein. NEP integrierte Arri-CCUs und Basisstationen in die OB-Umgebung und behielt dabei die bestehenden Signalwege für Intercom, Tally, Return-Signale und Shading bei. „Als Integrationspartner bestand unsere Aufgabe darin, die Komplexität hinter den Kulissen zu steuern, damit sich das Produktionsteam auf die Show konzentrieren konnte“, so Axel Engström, Sales and Project Manager, NEP.
Auch Sennheiser trug mit Wireless-Audio-Expertise zum Produktionsökosystem bei und unterstützte Mikrofon- und In-Ear-Monitoring-Workflows für die Künstler.
(Fotos: Riedel Communications)
Astera provides wireless lighting solution for Fernando Botero art exhibition
Singapore-based lighting designer Fengmao specified twelve Astera QuikSpots as a wireless lighting solution for illuminating six bronze sculptures by the late Colombian artist and sculptor Fernando Botero. These were installed across various locations within the Silver Leaf Garden at popular horticultural attraction Gardens by the Bay.
Fengmao has worked extensively in lighting photography and film environments as well as experimental theatre and spatial/interactive installations. For this project, he was approached by lighting rental contractor and technical production company True Colour Media (TCM) and asked to develop a lighting concept designed to enhance the sculptures and extend the audience experience beyond daylight hours, allowing the works to be appreciated long after sunset.
The QuikSpot fixtures were sold to TCM by Astera’s Singapore distributor, Total Solution Marketing. On site at Gardens by the Bay, two IP65-rated QuikSpots were deployed to light the fronts of each of the six sculptures - “Adam and Eve”, “Cat”, “Horse”, “Seated Woman”, “The Dancers”, and “Woman on Horse”. The lights were set to a warm white colour.
Security was also a consideration. Even in the extremely low crime environment of Singapore, the lights sitting on the ground were potentially tempting for pranking or mischief seekers. With Astera’s smart Anti-Theft Alarm feature enabled, this was minimised. When activated, the alarm triggers a visual and audible alert if the fixture is moved or tampered with, and the alarm status is highlighted in the AsteraApp, so technical crews can monitor if any lights have been disturbed.
Furthermore, Fengmao and the team wanted a fixture with the flexibility of being able to switch between programmed sequences, colours, etc., for the four-month duration of the exhibition. Plus, being able to work with the AsteraApp for control - through a secured radio PIN - gave peace of mind in a signal-dense environment like Singapore.
Quality of light was, naturally, another “top priority” for Fengmao on this project. “The QuikSpot’s single point light emission ensures a homogeneous output and shadowing compared to traditional LED PAR lights”, he notes, adding that this was important for working with the distinctive contours of the Fernando Botero pieces, as the lighting needed to preserve the inherent simplicity of their form.
Controlling stray light was another challenge, both for enhancing the meticulously curated space in the Silver Garden, and ensuring that they don’t encounter glare, keeping the focus firmly on the artworks. “We used the Astera AX5 snoot to maintain a clear profile and reduce glare”, Fengmao concludes.
The exhibition opened as part of the 2026 Singapore Art Week in January and then ran until May.
(Photos: Lee Jun Yan)
Houston Tamil Sangam dokumentiert Literaturwettbewerb mit Kameras, Mixer und Schnittsoftware von Blackmagic Design
Die gemeinnützige Organisation Houston Tamil Sangam hat in diesem Jahr einen Live-Produktions-Workflow von Blackmagic Design eingesetzt, um ihren jährlichen Thirukkural-Wettbewerb aufzuzeichnen und damit die Feier der tamilischen Literatur erstmals umfassend zu dokumentieren.
Der von einem Team Freiwilliger betreute Workflow umfasste eine Blackmagic Studio Camera 6K Pro als Hauptkamera und eine Blackmagic Micro Studio Camera 4K G2 für B-Roll-Aufnahmen. Die Feeds beider Kameras wurden in einen Atem-Mini-Pro-Live-Produktionsmischer gespeist, die Postproduktion erfolgte in DaVinci Resolve.
Zum Aufzeichnen des Thirukkural-Wettbewerbs erstellte der ehrenamtliche Videofilmer Senthil Kumar Kulandaivelayutham einen von Blackmagic Design Technik unterstützten Mehrkamera-Produktionsworkflow. „Es liegt mir am Herzen, jungen Menschen professionelle Tools zugänglich zu machen und ihnen die Möglichkeiten anhand von Beispielen aus der realen Welt zu zeigen“, sagt er. „Mit dieser Produktion wollte ich über ein einzelnes Kamera-Setup hinausgehen und demonstrieren, dass Profi-Tools auch für ein kleines Freiwilligenteam praktisch sind. Dieses Ziel haben wir mit Blackmagic Design erreicht.“
Die Studio Camera 6K Pro wurde zum Filmen der Hauptbühne entsprechend platziert, die Inhalte wurden in Blackmagic RAW direkt auf einen externen Speicher aufgenommen. Die Micro Studio Camera 4K G2 diente zum Filmen von B-Roll-und Nahaufnahmen im gesamtem Veranstaltungsbereich. Die Feeds beider Kameras zusammen mit einem dritten Kamerafeed wurden in den Atem Mini Pro gespeist. Kulandaivelayutham überwachte die Produktion über den Multiview-Ausgang des Atem Mini Pro und zeichnete den Programm-Feed-Mix auf eine SSD auf.
Kulandaivelayutham hatte bereits Erfahrungen mit der Blackmagic Camera App, was ihm beim Wechsel zu den Studio-Camera-Modellen geholfen habe. „Durch die Verwendung der Blackmagic Camera App bin ich mit Dingen wie Focus-Peaking vertraut geworden“, erläutert er. „Deshalb konnte ich das Focus-Peaking-Feature während der Veranstaltung sofort auf beiden Blackmagic-Kameras anwenden.“
Nach der Veranstaltung fertigte Kulandaivelayutham Backups des Filmmaterials an und begann mit der Postproduktion in der Videoschnitt-Software DaVinci Resolve, die er seit 2021 exklusiv verwendet. Kulandaivelayutham nutzt DaVinci Resolve regelmäßig in seiner ehrenamtlichen und beruflichen Arbeit, unter anderem an den Houston Tamil Schools, wo er Schülern und Freiwilligen kreative Technologie näherbringt.
Vor Kurzem habe er auf DaVinci Resolve Studio hochgerüstet und einen DaVinci Resolve Speed Editor angeschafft, um seinen Post-Prozess zu straffen. „Bühnenprogramme haben viele Pausen. Früher hab ich die mithilfe von Tastaturkürzeln gemanagt, aber das war langsam. Mit dem Suchregler des Speed Editor gehen solche Schritte einfach und glatt“, erklärt er. „Mit DaVinci Resolve Studio kann ich das Transkript abrufen und die Stille automatisch unterbrechen.“
„Bis zu diesem Jahr hatten wir einfach nicht die Ressourcen, um ein Ereignis dieser Größenordnung richtig zu erfassen und aufzuzeichnen“, sagt Kulandaivelayutham abschließend. „Die Organisation des Wettbewerbs ist sehr aufwändig und erfordert viel Personal, sodass die Aufzeichnung quasi zweitrangig wurde. Ich wollte die Veranstaltung dieses Jahr zu etwas Besonderem machen. Auch Menschen, die nicht teilnahmen, sollten verstehen und schätzen können, was wir tun. Blackmagic Design hat mir geholfen, genau das zu erreichen.“
(Fotos: Blackmagic Design)
Jakov Jozinovic’s Zagreb shows lit with Robe GigaPointes
Mojo Rental Southeast Europe from Croatia were the first company in the Balkans to invest in Robe’s new GigaPointe laser-phosphor source multipurpose luminaire, with a purchase of 24 fixtures. These were delivered - direct from the factory in Czechia - to the get-in of two massive shows at Zagreb Arena for Croatia’s latest pop and internet sensation, Jakov Jozinovic.
The GigaPointes were at the heart of a dynamic lighting and stage design by Sven Kucinic from LumiLas LLC who also used 173 other Robe products on the rig. The show was the largest that Jozinovic has played to date. Due to last-minute changes in the production requirements, the whole lighting rig for the 360-degree show was fully reimagined - completely from scratch - in just six days ahead of the show. Kucinic created a multi-dimensional interactive environment to connect the young star with his fans.
In addition to the GigaPointes, Kucinic’s design utilised 32 Robe Fortes, 32 CycFX 8s, sixteen Paintes, 24 LedPointes, 32 Spiiders and 32 Tetra2s. Four Robe BMFL WashBeams were the follow spots, ensconced high up at the back of the audience bleachers. They were manually operated using Robe’s LightMaster side handle kits, with pan and tilt controlled by the operators and all other parameters run from Kucinic’s lighting console. The rectangular-shaped stage - with thrusts emanating from the two short sides - was positioned in the middle of the arena, and above it was a rectangular-shaped video cube with screens on four sides, primarily dedicated to an IMAG mix.
When he knew that the GigaPointes would arrive in time for these shows, Kucinic made them central to the design, and they were used for everything apart from key lighting, and especially for all the large scale looks, plus an array of mesmeric effects. “It’s always exciting to use a new product”, he states, adding that for several years MegaPointes had been a go-to for most of his creative projects, so it was a logical progression to change up to this new luminaire. However, Kucinic also used ten MegaPointes as support to extend the high beam concept.
The GigaPointes were positioned on trusses above the long side of the video cube in positions giving the highest (16-metre) and longest throws for aerial effects, where they had big impact blasting out from the arena roof space. The MegaPointes were rigged on trusses in corresponding positions along the short side of the video rectangle.
Being “a bit of a laser nerd”, Kucinic appreciated “the way you can make GigaPointes emulate laser effects when needed”, adding that “they are the only laser source I’ve encountered to date that look like an LED light when in Spot mode”. The GDTF file for GigaPointes was already made available by Robe, simplifying Kucinic’s pre-viz work. The initial versions of the design were produced months in advance using Capture and based on MegaPointes, as at that stage, no-one could exactly pinpoint the GigaPointe delivery date.
The 32 Fortes were hung just below the video cube on a trussing grid formation. Running gobos and texturing on the stage with these Fortes seamlessly blended with the floor’s video effects, so it was impossible to tell between lighting and pixels. Kucinic also used the Fortes to shroud the stage in intense light combined with smoke for a dramatic entrance effect, as Jozinovic popped up from the centre on a lift.
Kucinic says he has always liked Tetra2s, and for the show used all 32 that Mojo Rental Southeast Europe has in stock for framing the edges of the stage - low profile fixtures were essential to preserve sightlines. He took all of the company’s CycFX 8s as well, used in the mirroring positions on the trusses above stage. Also on the floor were the 24 LedPointes, again picked due to their compact size and minimal impact on sightlines.
All the time Kucinic had to be acutely aware of how the show would look live as well as later on thousands of smartphones and subsequent SoMe channels. The sixteen Paintes were his key lighting, rigged - together with the Spiiders - on four trusses further out from the video cube. These were ideal positions for lighting the band and Jozinovic, and for the Spiiders to bathe the audience in rich and sumptuous colours. In addition to lighting the fans, he used Spiiders for additional beam effects, working in conjunction with the GigaPointes.
Lighting crew chief Sven Grbec coordinated prepping all the Robe kit. In addition to these Robe lights, some strobes, 2-Lites, and around 30,000 LED bracelets (over the two nights) were also programmed via Kucinic’s lighting console.
(Photos: Jurica Cvitanic/Sven Kucinic/Mario Poje)
Lightware powers immersive video for “The Hunger Games: On Stage” in London
In the heart of London’s financial district, the new purpose-built Troubadour Canary Wharf Theatre invites audiences to experience Suzanne Collins’ “The Hunger Games” live on stage. This 1,200-seat venue brings the story to life through stunts, illusions and a visually driven environment to transport audiences to the heart of the Capitol.
With immersive video central to the storytelling, signal management became essential to the show’s success. Lightware Visual Engineering’s standalone MX2 matrix switcher with HDMI 2.0 and the 1G AVoIP Gemini GVN system were selected to ensure uninterrupted performances.
The show’s producer and director envisioned a video system that worked as an extension of the environment. ArtAV, a technical solutions provider for the arts industry, worked closely with video designer Tal Rosner and senior video engineer Arthur Skinner to design the system, supplying over 130 sqm of Unilumin P3.9 dvLED. “It was decided very early on that video would be the primary tool to immerse the audience as much as possible”, recalls Nick Joyce, Managing Director at ArtAV. “It is certainly one of the more complex projects we have worked on.”
Staged in the round, with no two seats offering the same view, the production team developed the “West Tower” and later the “East Tower” as central visual focus points. These structures serve as scenic elements as well as a key video tool, with performers interacting directly with the LED surfaces during choreographed fight scenes. A 38-metre ticker was also installed at floor level to bring dynamic content to audience level, whilst six smaller screens extend across the front of the balcony linking audience members to their assigned districts.
To ensure consistent visuals across this complex display network, Lightware’s MX2-8x8-DH4DPIO-A was deployed as the main matrix switcher. The MX2 matrices deliver 4K60 video signals over HDMI 2.0 and DisplayPort with ultra-low latency. “The MX2’s native DisplayPort support and full 4:4:4 colour processing is critical to the production’s success”, notes Joyce. “It enables high-resolution performance, while its dependability ensures consistent video distribution across the multiple LED surfaces and screens.”
Behind the scenes, Lightware’s Gemini GVN KVM system is instrumental in assisting the complex video workflow, particularly in post-production and rehearsal. “The creative team required a high-performance, ultra-low latency 4K KVM solution to allow animators and video designers to work flexibly and collaboratively”, explains Joyce.“The Gemini GVN provides remote access to the media servers and workstations located back of house, with a GVN-MMU-X100 Matrix Management Unit acting as a central control hub, coordinating communication between seventeen GVN-HDMI-TX210AP-DNT transmitters and twelve GVN-HDMI-RX110AP-DNT receivers.”
The setup enables users to instantly connect to different machines or signal sources as required, without physically relocating hardware, while visually lossless 4K60 4:4:4 transmission over 1 Gigabit preserves image clarity. “The Gemini GVN Dante-enabled version significantly enhanced workflow flexibility, allowing animators to route audio from multiple sources directly to their workstations”, says Joyce.
“One of the biggest challenges was that the venue was still effectively a construction site when we began”, he adds. “The scale of the space meant everything took longer than anticipated, so simplifying the production workflow became critical. By designing custom production desks supported by the Lightware Gemini system, we were able to create quickly deployable setups with minimal cabling. Each desk connected via a single backstage link and could be daisy-chained or removed easily, allowing the team to stay flexible throughout a long technical rehearsal period.”
(Photos: Johan Persson/Lions Gate Entertainment Inc.)
Susan Rose reflects spirit of Melissa Etheridge’s “Rise” with Chauvet
Heartfelt emotions course through Melissa Etheridge’s latest album “Rise”, a work drawing on the artist’s personal experience dealing with love, loss, and hope. Lighting designer Susan Rose reached deep into her own creative well to reflect these feelings on the singer’s 27-city tour in support of the album.
“My signature look for Melissa has always been animation on an upstage black curtain using lighting from multiple angles to build depth and layered texture”, says Rose. “When I was asked to design a backdrop for the ‘Rise’ tour, I kept that approach at the core. I still light the drop the same way I would a black curtain, but now I have integrated graphics that gives me a subtle visual foundation.”
“By doing this we create an entirely new look that represents the ‘Rise’ tour, while still allowing me to enhance it with layered color, gobos, and floor lighting for up light”, she continues. “When we’re working with an LED wall, I treat it the same way. I continue using lighting as if it were a black curtain, but the added content gives the show a more powerful and dynamic visual impact.”
This was very evident April 18, 2026, when Etheridge appeared at the Parx Casino’s XCite Center in Bensalem, Pennsylvania. Helping Rose bring the backdrop to life were the twenty-six Chauvet Professional Maverick MK2 Spots in the casino’s house rig. “They were my primary tools for animation, gobo, and prism projection on the upstage surface”, she explains. “They also are invaluable in helping me extend those textures onto the stage and ceiling, so I can create a cohesive visual environment.”
Rose’s stage lighting incorporated a wide range of looks, including soft washes, beam effects, and dynamic eye candy. Contributing to this panorama were forty Maverick MK2 Washes and ten Maverick MK 1 Hybrids. “The MK2 Washes provided a strong, vibrant wash for both stage coverage and front light on the band”, she says. “I also used them to establish base color tones on the LED wall to tie everything together.”
“I draw heavily from my television experience when lighting Melissa”, she adds. “I use CTO in the follow spots to maintain proper color balance for cameras. At the end of the day, we’re lighting for cameras and phones constantly, so I’m careful not to distract from Melissa with color or gobos. She is the one fans come to see.”
(Photos: Chauvet Professional)
Facts and Fiction realisiert Petersberger Klimadialog in Berlin
Im April 2026 fand in Berlin der 17. Petersberger Klimadialog (PKD) statt. Im Auftrag des Bundesministeriums für Umwelt, Klimaschutz, Naturschutz und nukleare Sicherheit (BMUKN) verantwortete Facts and Fiction erneut die Umsetzung der zweitägigen internationalen Veranstaltung.
Der Petersberger Klimadialog dient der Vorbereitung der nächsten UN-Weltklimakonferenz - in diesem Jahr der COP31, die im November 2026 in der Türkei stattfinden wird - und wurde vom BMUKN unter der Leitung von Bundesminister Carsten Schneider im Berliner Westhafen Event & Convention Center ausgerichtet.
Minister aus über dreißig Ländern sowie Vertreter der EU, der Vereinten Nationen und weiterer internationaler Organisationen kamen zusammen, um zentrale Fragen der internationalen Klimapolitik zu diskutieren und den informellen Austausch zu fördern. Facts and Fiction übernahm - in partnerschaftlicher Zusammenarbeit mit dem Organisationsteam des BMUKN - die Planung und Umsetzung der Veranstaltung.
Dazu gehörten die Beratung bei der Auswahl der Location, die technische und gestalterische Ausstattung sowie das komplette Gästemanagement von der Entwicklung eines Anmeldetools bis hin zur Akkreditierung vor Ort. Auch die grafische Umsetzung einschließlich Key Visual, Branding der Location sowie der Gestaltung zentraler Flächen, lag in den Händen der Agentur.
Die Koordination aller beteiligten Gewerke, darunter Sicherheit, Dolmetscher und Veranstaltungspersonal, verantwortete ebenfalls Facts and Fiction in Zusammenarbeit mit dem BMUKN. Die Umsetzung der Sicherheitsanforderungen erfolgte in Abstimmung mit dem Bundeskriminalamt und der Location.
(Fotos: BMUKN/Sascha Hilgers/Annette Riedl)
DPA microphones capture piano sounds on Yann Tiersen tour
Reproducing the full emotional and dynamic range of a solo piano on a large-scale sound system presents a unique set of challenges, especially when that performance is as nuanced as Yann Tiersen’s. Known for his emotive, minimalist compositions and genre-blending artistry, his latest tour, titled “Rathlin from a Distance - The Liquid Hour”, unfolded in two distinct chapters: an opening set of a solo piano followed by a second half steeped in modular synthesis and electronics.
For veteran live sound engineer Jamie Harley, whose four-decade career spans electronic, indie and acoustic music, the challenge was finding a way to blend these two different sound worlds into a seamless live experience each night. DPA Microphones’ DPK2015 Piano Stereo Kit became an essential part of that equation.
For the piano-driven portion of the performance, Harley deployed the stereo pair of DPA 2015 Wide Cardioid Microphones, which are included in the miking kit. “Yann plays in a very textural way”, Harley explains. “He’ll hold notes and build layers of tone. If you’re not careful, things can get mid-range-heavy quite quickly. I was really interested to see how the piano kit would handle that, and it worked extremely well.”
The 2015 microphones were positioned inside the piano to capture both clarity and depth, with a focus on maintaining tonal balance across the instrument’s full range. The wide cardioid pickup pattern of the mics allowed Harley to capture the natural resonance of the piano while minimizing unwanted bleed.
One of the standout features of the 2015 mics, according to Harley, is the ability to deliver a clean, balanced signal with minimal need for corrective EQ. “With cheaper microphones, you often hear the mid-range start to get fuzzy or unpleasant, and then you’re reaching for EQ to fix problems the mics are introducing”, he says. “I didn’t have to do that with the 2015s. There were small adjustments, of course, but nothing drastic.”
Harley also notes that the microphones provided ample low-end warmth without the need for additional reinforcement tools, such as contact microphones. “We experimented with other solutions for low-end weight, but in the end, I didn’t need them”, he explains. “If you position the microphones correctly and tune the system properly, you get more than enough warmth and power from the piano itself. Most importantly, it doesn’t muddy the mid-range.”
With each venue presenting a different piano, acoustic environment and system configuration, consistency is one of the greatest challenges in live sound. “Every piano is different”, says Harley. “Some are brighter, others are warmer and still others are more aggressive. Your job is to listen to the source and reproduce it as faithfully as possible through the system you have. DPA makes that job much easier.”
In addition to the 2015 piano kit, Harley has also used DPA’s 4099 Instrument Microphones and D:facto Vocal Microphones across various projects, further cementing the brand’s role in his workflow. Harley’s confidence in DPA Microphones is rooted in decades of experience with the brand, dating back to its Brüel & Kjær heritage.
“I’ve known DPA products since the early days in the studio”, he says. After his experience on Yann Tierson’s tour, Harley is confident that the DPA DPK2015 Piano Kit will remain a staple in his toolkit. “I had a really lovely time with the 2015s”, he concludes.
(Photo: DPA Microphones)
X5-Serie von GLP begleitet DJ BoBo auf „The Great Adventure“-Tour
Seit dem 1. Mai und noch bis zum 14. Oktober 2026 ist DJ BoBo mit insgesamt 28 Terminen auf „The Great Adventure“-Tour in Europa. Verantwortlich für das Lichtdesign ist erneut die Firma Gerdon Design, die den Schweizer bereits seit dessen vorheriger Tournee (2022) begleitet.
Bereits vor Beginn der aktuellen Tour war DJ BoBo im Januar 2026 mit vier Premieren-Shows im Europa-Park in Rust in sein neuestes Live-Kapitel gestartet. „Die Shows im Europa-Park sind sehr, sehr gut gelaufen“, berichtet Thomas Gerdon. „Auch diesmal ist es wieder ein projektionsbasiertes Design - das komplette Bühnenbild wird gemappt. Für das Licht bedeutet das sehr präzises, kleinteiliges Arbeiten, weil viel Weißfläche mit Content bespielt wird.“
Der Setbau selbst bleibe bewusst reduziert und diene als Projektionsfläche für die visuelle Dramaturgie. „Die Projektion definiert die Inszenierung und wird bedarfsgerecht durch das Lichtdesign ergänzt“, so Gerdon. Das Lichtsystem umfasst 113 Scheinwerfer aus GLPs X5-Serie: 49 Impression X5, 46 Impression X5 Compact sowie achtzehn Impression X5 IP Maxx.
„Ich bin bei den Geräten der X5-Serie wirklich Überzeugungstäter“, fährt der Designer fort. „Die Show funktioniert eher wie ein Musical als wie ein klassisches Konzert. Die ganze Bühne ist Content. Die Impression X5 erlauben es uns, praktisch jede Contentfarbe aufzunehmen, gleichfarbig oder komplementär. Außerdem war es wichtig, eine homogene Bildsprache zu erzeugen, was nur mit Geräten aus einer Serie zuverlässig gelingen kann.“
Die Dramaturgie der Produktion bewege sich zwischen zwei gestalterischen Polen, erklärt Gerdon: „Es gibt Songs, in denen so viel auf der Bühne passiert - Tänzer, Fahnen, Akrobatik -, dass das Licht vor allem sichtbar machen muss, ohne vom Geschehen abzulenken. In den Dance-Songs dagegen muss das Licht die Dynamik aktiv verstärken. Hier wird die Beleuchtung zum Mitspieler auf der Bühne.“
Über der Hauptbühne sorgen zwei Traversen - Back und Mid - mit Impression X5 für die flächige Grundausleuchtung. Mit bis zu 22 Tänzern gleichzeitig entstehe so eine „intensive Farb-Lichtdusche“, die Performer und Projektionen visuell miteinander verbinde. Die gesamte Spielfläche - Hauptbühne, Catwalk und B-Bühne - ist umlaufend mit Impression X5 Compact ausgestattet; die Geräte übernehmen Effekt- und Ambientefunktionen und fungieren zugleich als Fußlicht entlang der Performance-Flächen.
Ein zentrales Element der Show ist die groß dimensionierte B-Bühne, die unter anderem von Artisten genutzt wird, darunter die besten Geräteturner der Schweiz. Unter Gitterrost-Podesten installiert, setzen Impression X5 IP Maxx hier markante Akzente von unten, die in zwei Showmomenten besonders herausstechen:
Im Song „Pray“ steht der Sänger allein auf der B-Bühne, begleitet nur von einem Followspot und den roten Lichtsäulen der X5 IP Maxx; die Geräte unterstützen diesen reduzierten, konzentrierten Moment atmosphärisch und sollen der Szene visuelle Tiefe verleihen, ohne sie zu dominieren.
Im Stück „We Make A Change“ hingegen werden die X5 IP Maxx zum bildprägenden Element: Ein leichtes Stofftuch bewegt sich im Luftstrom von Ventilatoren und wird von unten in intensivem Blau angestrahlt, um ein „magisches Leuchten“ des Materials zu erzielen.
Die Show folgt einer erzählerischen Rahmenhandlung: Unter dem Titel „The Great Adventure“ begibt sich DJ BoBo auf eine Reise durch verschiedene Welten. Ergänzt wird die Inszenierung durch großformatige Inflatables, darunter zwei zwölf Meter hohe Skelett-Könige, gekrönt von einem „fliegenden“ Adler mit 26 Metern Spannweite, der am Ende der Show majestätisch über allem schwebt.
(Fotos: Julian Huke Photography - julianhuke.com)
DiGiCo Quantum consoles chosen for Thee Sacred Souls world tour
After some one-off shows this spring, including two nights at L.A.’s Greek Theatre, Thee Sacred Souls went to Asia/Oceania in May, and to Europe for festivals in June. The trio are heading to the UK in July, and then back to North America for “The Constellation Tour” in August and September.
Every show uses DiGiCo Quantum consoles. The Quantum326 is the workhorse for this diverse set of gigs and venues, with the Quantum338 and other Quantum desks ready to fill in for fly dates along the way, as well as an SD-Rack stage box. The DiGiCo gear is being provided by the Escondido, California office of Sound Image, a Clair Global brand.
“On our riders, DiGiCo is always the first; for our run in May, ninety percent of it was DiGiCo”, says Josh Benton, Thee Sacred Souls’ front-of-house engineer for the last five years. “When we do our touring in the States, if we’re in a bus and have a truck, we’re always traveling with a DiGiCo. It’s been my favorite desk for that entire time.” Adds monitor mixer Zac Gerig: “Probably ten years for me.”
The band’s association with DiGiCo can be traced to a 2025 appearance on “Austin City Limits”. “We were on a different console for that tour; ‘Austin City Limits’ was a fly-in and they had DiGiCo Quantum338 desks there”, Benton recalls. “As we’re going through sound check and line check, our lead singer, Josh Lane, gets on his mic and says: ‘This is the best my mix has ever sounded. What are we doing different?’ And the monitor engineer with us at the time said: ‘Oh, we’re on this DiGiCo desk’, and Josh looks at me and says: ‘Can we use these from now on?’ We switched and have never looked back.”
While he’s used both the Quantum326 and Quantum338 on Thee Sacred Souls shows, depending upon availability and type of date, Benton says the Quantum326’s specifications make it his favorite road companion: “Either desk is good with me, but when we get on tour, I prefer the Q326 just because it’s more compact. I’m also a huge fan of the ability to swap out DMI cards - if we want to use different protocols on the back of the desk, it’s just swap it out and off you go. That’s been a huge asset as of late as we started using the Dante protocol for some of that.”
“Our input list isn’t terribly big, no more than forty; they’re not playing with tracks”, says Benton. “If you don’t see it on stage, it’s not happening.” However, the show can be pretty complex, he adds: “As a band, it’s the three guys, but as a live act, we are at minimum an 11-piece band, and sometimes a 15-piece band if we have a string quartet with us, as we did for our two shows at the Greek Theatre in L.A. With a single SD-Rack, we’re able to cover our needs and any of the support artists that tour with us, which is something we’re planning on doing for the summer run, all within one infrastructure. It makes for a very streamlined workflow.”
In monitor world, Zac Gerig also has a busy workflow, working with a combination of both IEMs and traditional wedges. “When we have strings, it’s twelve channels of stereo in-ears, and then six wedge mixes”, he says. As for his Quantum326, he states: “What I like is that I don’t need any outboard gear; all my processing’s done within the console itself. So I’m using all the built-in Spice Rack and Mustard EQs.”
“The biggest thing for me at monitors is speed, but also the precision of sound”, he furthers. “I try to get all of my moves down to a couple of button presses, because when we start a line check, or if we’re doing a festival and the band didn’t get a soundcheck, every one of the fifteen people has access to a talkback that goes directly to me. And if it takes me more than ten seconds to make these adjustments, I get buried. The Quantum provides the workflow that I need to keep up with fifteen people on stage.”
(Photos: Ben Zucker/@benzckr)
Tom Hannes & The Moonlovers bring David Bowie’s legacy to life with ADJ lighting
Touring cultural centers and venues across Flanders throughout 2026 and 2027, “Many Returns of the Day” is a live production from Tom Hannes & The Moonlovers, created to mark the tenth anniversary of David Bowie’s passing.
Blending musical performance with theatrical storytelling, the show demands a lighting design that is both expressive and adaptable - delivering atmosphere, movement, and visual impact in a wide variety of venues. Lighting for the tour is supplied by Roarr Light Support, with lighting design by Ruark Parmentier. The production makes use of ADJ’s Focus Flex moving heads alongside the retro-inspired Mini Dekker effect fixtures.
Parmentier’s relationship with the band began organically in 2023. “Our collaboration started quite by coincidence, as is often the case”, he explains. “Gijsbrecht Moeyersons, the FOH sound engineer, and I already knew each other from the PA sector. One beautiful summer evening, he asked me if I would handle the lighting for this great group. At that time, it was for their Nick Cave tribute program. That’s how it all began.”
For the Bowie tribute production, Parmentier selected the Focus Flex as the core fixture for his lighting rig. “I had noticed the Focus Flex in other productions”, he recalls. “I first used it during an album release show for the band Sonder, and now also for this Bowie project. It is a wash fixture I really enjoy using in theaters and other smaller settings.”
To complement the dynamic capabilities of the moving heads, Parmentier introduced a more unconventional element: ADJ’s Mini Dekker effect fixture. Originally released over a decade ago, the Mini Dekker brings a retro aesthetic with a modern twist, projecting vibrant RGBW beams through its 48 lenses.
“‘Many Returns of the Day’ marks the tenth anniversary of Bowie’s passing, and Tom Hannes & The Moonlovers honor this beautifully”, says Parmentier. “I wanted this project to truly shine. I was looking for a glitter-style backdrop to add some magic, and from a lighting perspective, I wanted a mirror ball effect. However, mirror balls are fragile and require additional lighting fixtures. The Mini Dekker is far more practical in use.”
“By coincidence, while working on the lighting design, I saw the Mini Dekker in another production”, he continues. “Once I realized it could be perfectly controlled via DMX, I was immediately convinced. When the band saw the effect during the first rehearsal, they were instantly on board as well. It became a beautiful addition to both the music and the show.”
Despite its unconventional role in a touring setup, the Mini Dekker has become a key creative tool for the production. “The LEDs do compete somewhat with the PARs and wash fixtures, but that actually makes it more interesting creatively”, states Parmentier. “It allows for a wide range of possibilities using color, dimming chases, strobe effects, and shapes.”
(Photos: Rudi Schuerewegen)
