TOTAL PRODUCTION INTERNATIONAL

A VIRTUAL
WORLDLive productions enter
the digital realm
LIVE EVENT DESIGN & TECHNOLOGY • JULY 2020 • ISSUE 251

I
#LETTHEMUSICPLAY

LAURA MARLING • LOCKDOWN TV 2020 • THE FLUFFY CLOUD • THE COLLECTIVE SESSIONS • PSA JULY 2020
#251
#LETTHEMUSICPLAY • MARKET FOCUS: OUTDOOR LED • GEAR HEADS: ADAMSON SYSTEMS CS-SERIES
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EDITOR’S LETTER

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Let’s see how deep the rabbit holes goes…..

If you’ve followed TPi over the past few months and glanced at these leader pages, you’ll know how I’ve
have been talking about adapting and uncovering stories of innovations that are taking place during this
trying time in the live events industry. We’ve been making progress, but it feels like this mission has really
come to a head now with our July edition.
I was looking through my notes the other day and I saw how I’d earmarked a Glastonbury cover for
our July edition. That couldn’t happen for obvious reasons, so instead, this month’s TPi is the first ever to
feature a digital festival on the cover, which Jacob and I enjoyed from our makeshift home offices – certainly
a big change from this time last year, which involved heatstroke and dehydration at Worthy Farm.
Taken from last weekend’s Lost Horizons festival, I spoke to some of the Shangri-La team about the
project as part of this month’s exploration of virtual events. You can read more on page 38. And the digital
revolution doesn’t stop there, with two production profiles of livestreamed events. While I spoke to the
team behind Laura Marling’s latest pay-per-view performance from Union Chapel (page 26), Jacob grabbed
some time with the Lockdown TV 2020 team, broadcasting live from their London HQ (page 32).
Away from the shows, we also take a look at some of the innovative ways that people in the industry
are transferring their skills and offering to provide equipment that can aid directly in the fight against
COVID-19 (page 49).
Also, unless you were living under a rock on Thursday 2 July, you’ll be aware of the massive effort by the
live events industry in the #LetTheMusicPlay campaign. The impact of this campaign was truly incredible
and TPi was proud to lend its voice to highlight the importance for the government to take more proactive
steps to ensure this industry we love weathers this storm. You can read more on page 11, but at the time
of writing, it seems that the effort was not in vain, with the British government unveiling a £1.57bn support
package to help protect the futures of UK theatres, galleries, museums and other cultural venues. The
real-world implications of this pledge for now are still unclear, but hopefully this means that more venues,
institutions and companies will be able to make it to the other side.
Till then, stay safe out there.
Stew Hume
Editor

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Stew Hume Jacob Waite
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COMMERCIAL DIRECTOR Issue 251 – July 2020

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TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Media Limited under licence. ISSN 1461-3786
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 ITINERARY

EVENT FOCUS
08 Faith No More: Crew Relief
The band put together a campaign to
support their road crew during COVID-19.
Trade Hire
11 #LetTheMusicPlay
UK artists, music professionals and
venues launch a campaign for change.

14 The Collective Sessions

Touring veterans embark on a series of
livestreaming gigs at Millenium Studios.

20 17


BNS Drive-in Concerts
Universal Sound Productions deploy JBL
loudspeakers for the Sri Lankan event.

18 CovidHagen
DPA Soundco’s 24-hour livestream event
on the roof of Copenhagen Opera House.

20 The Fluffy Cloud

US artist creates the world’s first touring
venue in the time of social distancing. 
Outdoor
24 Drive-In Comedy


contour Veranstaltungsservice utilises a
Meyer Sound system for drive-in shows.
LED Screen
Support

26
PRODUCTION PROFILE
26 Laura Marling
Standard range of
The English folk singer teams up with ATC sizes ready to be
Management for a livestreaming first. deployed now -
32 Lockdown TV 2020 with or without
A suitably socially distanced streaming LED Screen, PA and
platform at Sensible Music’s Studio 4.
Power packages.
GAMING FOCUS Contact us for details
38 Show designers and VR/AR experts
discuss the gamification of live events.

MARKET FOCUS
IPS has extensive stocks
44 LED offerings for drive-in events.
of Staging, Rigging,

32 TRANSFERABLE SKILLS
49 Industry solutions for the COVID-19 fight.
Lighting, Video, Sound &
Power Equipment ready
to hire now
PRODUCTION FUTURES
52 Rookie of the Year, Harry Boyde, shares
his story from stagehand to touring tech. IPS is Open!
INTERVIEW Our warehouse
54 Game.ae’s Isaac Kumer looks back on the is staffed with a
first-ever virtual TPMEA Awards event. minimal team and
FUTURE INSIGHTS
others are working

38 56 The latest product releases.

GEAR HEADS
remotely.
We are ready to
work with you to get
62 Adamson Systems’ Brian Fraser
discusses the company’s new CS-Series.
events going again.
Stay Healthy, Stay
PSA: THE BIGGER PICTURE
Alert.
66 PSA’s Andy Lenthall retraces the so-called
roadmap for the return of live events.
Get in touch Now
INDUSTRY APPOINTMENTS for a Quotation
68 The latest movers and shakers.
01908 657950
54 BACK CHAT
74

TPi Awards Tour Manager of the Year,
Trevor Williams, takes the hot seat.
ips.co.uk
EVENT FOCUS

FAITH NO MORE: CREW RELIEF

With their loyal touring family out of work, Californian rock legends Faith No More launch a
campaign to ensure their crew are taken care of during the lockdown. TPi’s Stew Hume reports...

With a fiercely loyal fanbase across the globe, Faith No More have been advancing due to start on 1 April 2020 and the New Zealand shows due to
a mainstay of the alternative-rock scene for many years and, since start at the start of May. As it became apparent the gigs were going to be
reforming back in 2009, the band has enjoyed a great level of success off, we were devasted, personally and financially, having lost all of our work.
touring, and headlining numerous festival slots. Since reigniting the I knew how much this was going to impact our crew. We are all part of a
flames at the tail-end of the noughties, there has been a constant roster freelance community across the world and, at that very moment, we were
of men and women working tirelessly behind the scenes to ensure Mike all in exactly the same position.”
Patton and the band get to each venue and their stage shows meet fans’ The worry was not lost on the band and upper management, who
lofty expectations night after night. began to put their heads together to find a way to raise some funds for the
However, like many people across the globe, 2020 meant one thing hard-working family.
– a sudden halt of touring plans. “We were set to roll from May to mid- “A few weeks went by and I noticed a few acts – The National, Deftones
September this year,” reflected Production Manager, Shaun Kendrick. “I had and Run the Jewels – put some type of crew relief online,” explained
been working on the project on and off since October 2019 with setup and Kendrick. “I’d been thinking about it, too, and Tim [Moss, the band’s

08
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FAITH NO MORE

Manager] clearly had the same thought. Tim then spoke to the band and behind it. I bought other bands crew shirts to help them, too, as I believe
they were totally behind the idea.” you can’t take out if you don’t put back into the machine. The bands and
The original concept was to create a T-shirt that would be sold to crew couldn’t believe the response and positivity.”
fans, which in turn would be used to create a fund for the crew. Soon the Long-time FOH Engineer, Michael Brennan commented: “It’s such a
merch catalogue expanded to include some old signed posters, vinyl and simple idea and it’s been fantastic to see the response from everyone
drumheads – they even brought on the company Sew What to produce – it was really organic,” he stated. “It was one of those tours where each
custom face masks. member of the crew would do anything for these guys – it’s a really tight
The T-shirt design featured a re-layout of small logo the band were unit and we truly do have each other’s backs – no matter what.”
donning as part of their self-released album, Sol Invictus, in 2015. The band He concluded that this latest campaign reflected the mentality on the
had formed Reclamation Records to self-release the record and used two road – a statement echoed by Kendrick. “The Faith No More crew is small
hands in a pray pose as part of that record label artwork design. “I’d always and tight – we move fast, and everyone rolls their sleeves up. There is no
loved the design, and said it needed to be a shirt,” stated Kendrick. deadweight, which is awesome. We really enjoy spending time together and
“Once the crew relief went live, the whole situation became totally delivering the shows night after night with good-humoured momentum.”
humbling – the love and support I received personally was unexpected,” TPi
stated Kendrick. “My family bought the shirts; friends, colleagues, people Photos: Faith No More
I’d not heard from for years and, most importantly, the fans totally got www.fnm.com/crew-relief

10
 EVENT FOCUS

#LETTHEMUSICPLAY

The live music industry calls upon the UK Government to present a clear timeline
for venues reopening and a financial support package for the sector. Three days after the
campaign, the government responds, stating that cultural and heritage organisations are
to be protected with £1.57bn support package…

On Thursday 2 July, the music industry joined forces under the banner of of the events industry. The joint letter stated: “UK live music has been one
#LetTheMusicPlay for one purpose – to send one united message, calling of the UK’s biggest social, cultural, and economic successes of the past
for the British government to provide immediate assistance during this decade. But, with no end to social distancing in sight or financial support
trying time. Along with some of the world’s biggest artists, UK-based from government yet agreed, the future for concerts and festivals and the
crew members, rental houses and manufacturers also got behind the hundreds of thousands of people who work in them looks bleak.
campaign to show solidarity in support of a worthy cause. “Until these businesses can operate again, which is likely to be 2021
When the lockdown first became a reality on 23 March, few would at the earliest, government support will be crucial to prevent mass
have thought that we would make it to July and still not have a clear idea insolvencies and the end of this world-leading industry.”
of the future of live events and when they were due to return. Although As part of the campaign, the overall message is for the government to
regulations are beginning to slacken, with shops now open and pubs not provide a clear, conditional timeline for reopening venues without social
too far behind, the live events sector is still somewhat of a question mark distancing, a comprehensive business and employment support package,
in the UK. Although the government released a five-point roadmap, there access to finance and full VAT exemption on ticket sales.
has been significant backlash as the advice still doesn’t provide solid dates The business and employment support package should include, they
and, what’s more, doesn’t seem to take into account the reality of keeping say, a government-backed insurance scheme to allow shows to go ahead;
a venue open while not being able to operate at standard capacity. Turn to an extension of the furlough scheme and help for the self-employed to
page 66 for more on this. prevent mass redundancies; rent breaks for venues to allow them to reopen;
These frustrations culminated on 2 July, with the global events market an extension of business-rate relief to the entire live music supply chain;
coming together under the #LetTheMusicPlay banner. Spearheaded by UK rolling over fees for single-premises event licences for festivals; and financial
Live Music along with the Music Venues Trust, the campaign saw some of support for lost box-office income.
the world’s leading touring talents such as the Rolling Stones, Ed Sheeran, “July would normally see the UK embarking on a world-famous summer
Sir Paul McCartney, Iron Maiden and many more making an urgent plea for of live music, but this year the lights are switched off and the microphones
government aid to the sector, warning that a lack of support and continued unplugged,” commented Phil Bowdery, Chairman of the Concert Promoters’
uncertainty around reopening is having a “devastating” impact on one of Association. “Live music has sought to play its role in helping tackle
the world’s biggest live music markets. coronavirus, with many artists providing entertainment for people from
The appeal was centred on a letter to the UK’s culture secretary, Oliver their homes. But our shutdown is likely to go on for much longer than
Dowden, signed by 1,500 artists and bands, touring personal and members most, with many concerts and festivals unable to operate until 2021 at the

11
#LETTHEMUSICPLAY

earliest. Without rapid government support, the long-term impact will be and we must protect and preserve all we can for future generations. Today
devastating, with the loss of hundreds of thousands of highly-skilled jobs we are announcing a huge support package of immediate funding to tackle
and billions of pounds from the UK economy.” the funding crisis they face. I said we would not let the arts down, and this
Key to the #LetTheMusic play campaign was a widespread social media massive investment shows our level of commitment.”
effort with people sharing both the hashtag along with a number of stats The package announced includes funding for national cultural
that showcase the importance of live events to the nation’s economy. institutions in England and investment in cultural and heritage sites to
Trending worldwide on Twitter throughout the day and seeing massive restart construction work paused as a result of the pandemic. This will be a
engagement from all sectors of the industry, it was without doubt a big step forward to help rebuild our cultural infrastructure.
huge success. Not ones to be silent, manufactures, rental houses and This unprecedented package includes: a £1.15bn support pot for
crewmembers alike joined the call to action, many of which you can see on cultural organisations in England delivered through a mix of grants and
the preceding pages. loans – this will be made up of £270m of repayable finance and £880m
Since the campaign – and on the day we sent this issue to print – there grants; £100m of targeted support for the national cultural institutions
was news from the government that the arts, culture and heritage industries in England and the English Heritage Trust; and £120m capital investment
will receive a world-leading £1.57bn rescue package to help weather the to restart construction on cultural infrastructure and for heritage
impact of coronavirus. construction projects in England which was paused due to the coronavirus
Thousands of organisations across a range of sectors including the pandemic. The new funding will also mean an extra £188m for the devolved
performing arts and theatres, heritage, historic palaces, museums, galleries, administrations in Northern Ireland (£33m), Scotland (£97) and Wales
live music and independent cinema will be able to access emergency grants (£59m).
and loans. The announcement marks the biggest ever one-off investment in Decisions on awards will be made working alongside expert
UK culture. It will help them stay afloat while their doors are closed. Funding independent figures from the sector including the Arts Council England and
to restart paused projects will also help support employment, including other specialist bodies such as Historic England, National Lottery Heritage
freelancers working in these sectors. Fund and the British Film Institute.
This new package will be available across the country and ensure the Repayable finance will be issued on generous terms tailored for cultural
future of these multi-billion-pound industries are secured. Oliver Dowden institutions to ensure they are affordable. Further details will be set out
Culture Secretary said: “Our arts and culture are the soul of our nation. They when the scheme opens for applications in the coming weeks.
make our country great and are the lynchpin of our world-beating and fast- TPi
growing creative industries. “I understand the grave challenges the arts face www.psa.org.uk

12
 #LETTHEMUSICPLAY

Andrew Cunningham; DiGiCo’s Dave Bigg, James Gordon and Maria Fiorellino; George Ezra’s crew; Michael Fitzsimons – Eric Clapton & Friends; Jake Vernum with Trevor Plunkett.

13
EVENT FOCUS

THE COLLECTIVE SESSIONS

A collection of touring veterans join forces for a new venture, providing a space for artists to
perform and stream live shows from London’s Millennium Studios at an affordable price. With the
preparations well underway, TPi gets the inside scoop...

From the time lockdown was announced, artists have been releasing ideas of what we could do,” stated Green, who has worked with Schofield
footage of themselves to their fans across the globe – but as we move a number of times over the years. “It was very much an idea that was built
into July and measures begin to relax, most will agree that there is now out of the frustration brought on by lockdown. But once we had the space
somewhat of an expectation of a higher production values. As much as a at Millennium and the other suppliers on board, all the pieces fell into place
smartphone on a tripod of books filming the front room might have cut really quickly.” Schofield interjected by discussing the importance of the
it back in March, fans are increasingly looking for something a bit more venue. “The real advantage of using Millennium is that it’s designed for this
professional. First out of the gate during the pandemic were several job,” he stated plainly. “Some of the other solutions that have cropped up in
solutions from major rental houses, re-purposing their warehouse spaces the past few months are very much converted warehouse space – here, on
for multiuse streaming solutions, which could be used for everything the other hand, we have a roof that can take weight, a 60ft stage, and high
from corporate, religious ceremonies and, of course, live performances. spec’d dressing rooms with toilets and showers, making social distancing
But now there is a new incentive in place that has been put together by a very simple process to implement.” As part of the project, Millennium has
a number of touring veterans for the world of live music: The Collective also handed over the use of the other building space as well as the main
Sessions. studio, giving even more options to place elements such as broadcast and
The brainchild of Production Manager and Video Crew Chief Simon control to take place in an entirely different room.
Schofield [Noel Gallagher and Marina] and Tour Manager, Suzi Green “We jumped at the chance to be part of this,” enthused Nina Malivoire,
[The Chemical Bothers and Placebo], the idea was to create a functional Studio Sales Manager for Millennium Studio. Malivoire explained how the
performance space in which an artist could take over for a day with its in- project’s main base would be ‘A’ stage. “Not only is it a huge space, but
house flexible visual package and produce a live show to either be streamed there is so much external space near the stage to be utilised for the project.”
or recorded for later release. Housed in Millennium Studios, Bedford, The plan is that during the project, the team will create “space bubbles”
The Collective Sessions has been built on two core principles: firstly, a throughout to ensure everyone is able to keep their distance. “The team
festival-style setup, which will enable any artist to roll-in and produce a that Simon and Suzi have put together will make a real success of this
good-looking show; and secondly, a reasonable price point, to open the project and it’s exciting to be involved as the studio space.”
streaming world to a larger range of performers. “As soon as we started As well as being a state-of-the-art rehearsal facility, the other major
to lose work, Simon and I put our heads together to come up with some benefit for the Millennium campus is that it is also the site of a major

14
 THE COLLECTIVE SESSIONS

medical research facility. What this means is that the entire site is held
to the highest grade of health and safety regulations when it come the
cleaning and maintaining a safe working environment.
Helping Green and Schofield make this project a reality were Urban
Audio, GLS Lighting and Really Creative Media (RCM). “We’ve worked
with each company a number of times over the years,” explained Green.
“All the companies really bought into the concept of creating a festival
setup that was flexible and would enable an artist to walk in and start
using the space.”
On the video side, RCM put forward a comprehensive base camera
package, allowing remote camera management, so that all bands can
capture their rehearsals and performances in HD and safely. Bands can
opt for upgrades such as a roving steady cam, with additional camera
options available to expand their broadcast options. A vision gallery
and livestreaming technology will also be installed on-site. Projection
and LED screen options will also be available, with RCM video directors
giving bands plenty of creative visual options.
RCM’s Nick Dew stated: “If bands and fans can’t come together for
a live show, we’re taking the approach that ‘all the world is a stage’ and
we are the players to make that stage a creative, professionally exciting
virtual platform. It’s very exciting to be working with Millennium Studios
and other partners to deliver The Collective Sessions.
“The live music industry is in a tough place, so we’re happy to
be giving artists the chance to connect with their audiences with
high-quality livestreaming, creativity, tech production and recording
possibilities at a reasonable cost.”
Working alongside RCM to provide to visual canvas for the
performances is GLS Lighting. Talking through the lighting design was
Ian Turner, who created the rig for the space. “The biggest thing that
I had in mind while creating the design for this show was that the rig
had to be able to do a number of things, with minimal touch,” reflected
Turner. Every step of the way, flexibility was the name of the game,

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THE COLLECTIVE SESSIONS

Tour Manager, Suzi Green; Really Creative Media’s Nick Dew; GLS Lighting’s Jac Nott;
Production Manager and Video Crew Chief, Simon Schofield with Head of Puplicity, Milly; Director of Urban Audio, Dan Lewis; GLS Lighting’s Ian Turner.

leading the LD to create a rig where each truss could split in the middle. “What place as we had done some small projects during the lockdown which we have
this means is that you can angle each truss any way the artist’s visual team transferred to The Collaborations Project to ensure that everyone is safe. The
prefers.” space and the design Ian has created is flexible enough so that no matter the
The main workhorses on Turner’s proposed rig included a great deal of GLP genre, each artist can go into the space and really make the show their own.”
impression X4 Bar 20s, which act as the main wash fixture for the set alongside Finally, commenting on the audio package available at Millennium Studios
a number of JDC1 strobes. “As they are both from the same family, the colour was Dan Lewis – Director for Urban Audio. Just like the other departments in
matching is really good and gives us a good consistency throughout.” Also the collective, Lewis’ main goal was to replicate a festival-like package that
on the rider were the new Elation Professional Picasso spot fixtures. “Since would be very user friendly to any engineer that entered the building. “That’s
they were released, I’ve been very impressed with these lights,” enthused why we went for a Yamaha CL5 for the monitor desk, as it’s a surface that
Turner. “The fact that the performances were all to be filmed was very much a almost every engineer will be able to make work for their show.” Also provided
deciding factor with the use of the Picasso,” he added. “We needed something were a number of L-Acoustics wedges, Sennheiser IEM packages along with
with a good gobo lens and LED source that could produce a sharp spot for the Shure Axient Radio mics.
close up looks.” Also on the rig were a number of Robe Robin Pointe for beams, A CL5 was also the desk of choice for the broadcast mix. “Having a system
along with CHAUVET Professional Strike 4s for blinders to fill in the set. that was easy and reliable to network was essential,” stated Lewis, explaining
“The floor package was always going to be of utmost importance as how the broadcast mix was due to be situated in an enterally different room to
this element would always been in the shot,” started Turner. “This is why that of the performance. “For this reason, Yamaha fit the bill perfectly.”
we replicated a number of fixtures on the floor to those in the roof to add At the time of writing, all the pieces are very much in place for the first
consistency.” GLS also supplied a few other scenic elements to add some artists to tread the boards of Millennium Studios and calls are already
options for the stage, including Astera light tubes. underway with various management contacts. As well as giving artists
There will also be a number of different control options available, including a reasonable solution to keep the music alive during these trying times,
a ChamSys MQ 500, Avolites Tiger Touch 11 and an MA Lighting grandMA2. Schofield was keen to highlight that this also went for the crew they were
The goal is to have artists’ designers submit a suggestion of what they want bringing on. “We are paying people the right rates that they deserve in this
to create prior to their performance so the in-house crew can prepare the rig project,” he asserted. “Not only that, but we as a collective are sticking
and floor page before the artist even sets foot in the space. “This has been with what we know – which is live touring and music production.” And with
a fantastic project to be involved in,” concluded Turner. “The co-operative such a flexible space, it surely won’t be long until we are seeing a number of
mindset has been a really good experience and, what’s more, it means we’ve performances from the famed studio space.
been able to create work for other freelancers and techs during this trying TPi
time.” Photos: Millennium Studios
Also commenting on GLS’ involvement with the project was Director, Jac www.millenniumstudios.co.uk
Nott. “What is fantastic about this project is that it’s creating opportunities for www.glslighting.com
both artists and crew during these uncertain times,” she said. “We’re lucky at www.uaproductions.com
GLS as we already have the methodology and risk assessment side of things in www.reallycreativemedia.co.uk

16
 BNS DRIVE-IN CONCERTS

BNS DRIVE-IN CONCERTS

Universal Sound Productions deploys JBL Professional VerTec Series for Sri Lankan drive-in shows.

Hosted by pop duo Bathiya and Santhush, BNS Drive-in Concerts was as well as 20 Macro-Tech i Series and six XTi 6002 power amplifiers. JBL LAC
the first live music experiences since the COVID-19 outbreak for both was “essential” in designing and configuring the system to achieve ideal
Sri Lanka and South Asia, with Universal Sound Productions providing coverage and SPL, while Performance Manger helped Universal Sound
an audio backbone including an array of JBL Professional VerTec Productions tune the system. The show was mixed through a Soundcraft
Series loudspeakers. The large-scale events, was held at the Colombo Vi3000 digital console, while a Soundcraft Realtime Rack and two dbx
International Airport and enforced strict health and security guidelines. DriveRack 4800 loudspeaker managerment systems ensured peak sound
“The stage was directly facing massive aircraft hangers and many of quality throughout the concerts.
them were made of metal structures, so we had to work with JBL Line Array TPi
Calculator (LAC) to get rid of all the slap back with accurate measurement,” Photo: Chamal Goonawardena
stated Universal Sound Productions’ Malinda Lowe. “Towers were not www.pro.harman.com
an option as they would obstruct the view, so we managed to deliver the
required vertical coverage despite the heavy surrounding wind.” The other
challenge for the production was to match the PA feed with the broadcast
feed. “The JBL Performance Manger software and Soundcraft ViSi Remote
app played major roles in accomplishing this task,” commented Lowe.
Universal Sound Productions deployed 40 JBL VT4888 3-way high-
directivity loudspeakers. Both the left and right arrays comprised of 12
speakers, while the remaining 16 were equally divded and positioned in four
ground stacks. For powerful, accurate low-frequency repsonse, Universal
Sound Productions positioned 24 VTX G28 dual 18-inch subwoofers across
the front stage and eight VT4882 midsize subwoofers on the sides. The
system also featured eight SRX712M 12-inch two-way stage monitors and
one PRX618S 18-in self-powered subwoofer.
Powering the system were nine Crown VRack 4X3500 HD amplifer racks

A Ghostlight burns in empty theaters as a beacon

Photo by Claire P on Unsplash

against the dark and as a promise to soon retake

the stage.

We will all return to the stage. Until then, GLP will keep
its own Ghostlight burning for all of you.

More at ghostlight.glp.de

 /GLP.German.Light.Products  /GermanLightProducts  www.glp.de

17
EVENT FOCUS

COVIDHAGEN
DPA Soundco provides audio infrastructure for an ambitious 24-hour stream on the roof of the
Copenhagen Opera House. Project Manager, Ally Kerslake, reflects on the undertaking…

Over the past few months, we have seen exponential growth in streaming Then through an even smaller stair entrance onto a roof with no real access
culture in the world of live music as well as the level of production that save to do inspections from time to time and certainly not to have any kind
has gone into a number of fantastic shows. However, last month the city of concert production.”
of Copenhagen played host to an event that took the content to a whole The second challenge was that the vision from the very beginning was
new level – the roof, to be exact. to create a ‘stay at home festival’ that would provide 24 hours of non-
Hosted on top of the iconic Copenhagen Opera House, CovidHagen, stop content to be streamed on Twitch. “Crewing and safety was always a
was created to entertain the Danish public who, at this time of year, would priority for me during the planning stage,” reflected the Project Manager.
usually be looking forward to several months full of festivals. The goal of To manage the workload, the show was run by two, 12-hour shift teams,
CovidHagen was to produce a 24-hour stream, all of which was performed comprising: an audio project leader, broadcast operator, monitor operator,
from the roof of the building. and operator/system alternate for breaks. Also on the roaster for each shift
Brought in to provide the audio infrastructure for the project was DPA on the roof was a RF Tech, stage tech, stage alternate and an audio trainee.
Soundco. Sound Engineer and Project Manager, Ally Kerslake spoke of his DPA Soundco provided a full audio package comprising an RF and amp
experience. “The project as whole had some quite challenging, unique and station on the roof with all Shure Axient and PSM1000, CODA Audio CUE
historic elements,” he began, not least created by the fact the performance TWO Bi-Amped wedges, CODA DJ booth/sidefills and all mics and stands.
was to take place on the roof of such an iconic building. “This posed many “The power of both the CUE TWO and APS systems was perfect to
challenges as the only way up to the roof to load in was a small elevator. fire through the windy conditions on the roof,” said Kerslake. He also

18
 COVIDHAGEN

expressed that due to the fast changeovers, the light weight of the CUE of main show consoles were to have any issues it would always be possible
TWOs “definitely helped”. “It’s the lightest 15in, three-way wedge I’ve come for the hosts to stay live to OB for ‘padding’.”
across and the crew onstage were certainly glad of that after 24 hours. We Obviously, due to the current global situation, the organisers of
didn’t have a single issue of tonality throughout the whole production and CovidHagen wanted to ensure that everyone was safe during the
actually had multiple artists asking if we could provide the same solution performance. This saw the crew take certain measures such as a
for future tours.” workstation on the roof with a full disinfection setup. A full-time engineer
A fully DiGiCo Optocore Fiber system with back-up analogue took care was required to maintain this, along with being in charge of wireless
of all I/O. Kerslake explained: “This was situated on the second floor of the management through Shure’s Wireless Workbench and Showlink for the
building in a makeshift control room with low-latency LED screens and show and also for the many TV press that would come with their own RF
split-screen program feeds so the operators could get a feel of what was throughout the production.
happening many floors up on the roof.” “We had over 50 acts play over the 24 hours with multiple artists in
In the control room, there was a DiGiCo SD10, which handled monitor each,” stated Kerslake. “We had 25 Shure Axient HH transmitters and 20
control with wired Shure P9HW. Wedges for the control room were a stereo PSM 1000 IEMs had to be cleaned thoroughly between each use. Each artist
pair of Biamped CODA Cue 2. The broadcast sound direct to the OB via AES had their own wind screen to prevent passing the wireless and each of our
and Madi was taken care of via another SD10 with a Custom DPA Soundco techs had their own screen for checks.”
Waves system rack comprised of two Waves SoundGrid Extreme Servers DPA Soundco also put its two 3D printers to work prior to the event
and the new Waves super rack also running Tracks live for recording. Waves to make custom motorola changing stations for the 80-plus radios for
WLM Plus Loudness Meter played a major role in keeping the levels at a production staff and security provided by DPA. RF mic holders were also
constant to the OB feed. made in house.
“Lastly, a DiGiCo SD12 took care of the host mics between change TPi
overs,” stated Kerslake. “The SD12 also handled all comms routing Photos: DPA Soundco
matrixing and analogue back up to the OB on a split, so if ever the fibre loop www.dpasoundco.dk

19
EVENT FOCUS

THE FLUFFY CLOUD

TPi’s Jacob Waite chats to Jorge Perdomo – the US-based artist behind The Fluffy Cloud: a 30ft-tall
steel cocoon-like structure dubbed the world’s first touring venue in the time of social distancing…

While the live event experience we are accustomed to is rapidly Fluffy Cloud’s 2020 tour saw the structure circumnavigate the globe in seven
innovating, US-based inventor and artist, Jorge Perdomo has unveiled different cities before COVID-19 hit.
his latest project – The Fluffy Cloud, dubbed the world’s first touring The challenging time ahead allowed the creative freedom for Perdomo
venue and a uniquely COVID-19 friendly live experience, which may offer to re-imagine his business plan in the time of lockdown: looking towards
a model for live entertainment to bounce back sooner than expected. innovation in live production and what the entertainment business may
Perdomo made his artistic debut at the 2019 Burning Man with The breed once the world re-opens.
Fluffy Cloud. Part art installation, performance platform and light show, “The circular format of The Fluffy Cloud enables social distancing,
the 30ft-tall and equally wide cocoon-like structure – think Jeff Wayne’s added on top of the fact that it is an outdoor, open-air experience that
Musical Version of The War of the Worlds’ Martian Fighting Machine meets make The Fluffy Cloud safe,” Perdomo explained. “It represents a setup
Arcadia’s Pangea – was designed to provide outdoor concertgoers with an with seating for up to 600 people within The Fluffy Cloud’s 100ft diameter
unprecedented 360° visual and aural experience. performance space while still maintaining social distancing.”
The installation quickly became the talk of the 2019 Burn, drawing Granted, this is 600 attendees instead of the 2,000-plus before the onset
throngs of attendees to nightly performances by a wide variety of world- of the global pandemic, but it is a great example of the innovation that the
class DJs such as Adana Twins, Diplo, Flume and more. The Fluffy Cloud entertainment world will need to adopt in order to survive and thrive in
reappeared by invitation at the prestigious Art Basel show in Miami. The the future. “The Fluffy Cloud can also be easily modified into a dance venue

20
 THE FLUFFY CLOUD

The Fluffy Cloud Lead Artist/Founder, Jorge Perdomo.

with spots that are painted on the ground, instead of bar tables – in which background as the inventor and Co-Founder of goTenna, a tech company
case, it could be an outdoor club or biergarten type of space with dance he left to pursue his passions in art and music, Perdomo was searching for
room for up to 300 people.” a way to design an in-the-round venue to make it a more comfortable and
The idea behind The Fluffy Cloud came from Perdomo’s frustration and connected experience for concertgoers.
boredom with the repetitive and uncomfortable format of a front-to-back Having worked on it as a side project, Perdomo made the leap to sell
performance space, where audiences are crammed toward the front, all a portion of his shares in goTenna and transform into a full-time Fluffy
facing the same direction. Perhaps serendipitously, The Fluffy Cloud ended Clouder in 2018. “Any artist will confirm that art has to be self-sustaining.
up being a perfect fit for a new world where live experiences must take I saw this as an opportunity to make it work in the industry that I’ve always
social distancing into account for any event. loved – working with performance artists and the team behind the scenes.”
“I believe that art reaches its full potential when it is reinterpreted and However, it was no walk in the park for Perdomo. While donations from
combined with other pieces of art. From that perspective, I think of The friends also helped push along the innovation, it mostly became a burden
Fluffy Cloud as a very special paintbrush which, if placed in the hands of that he had to shoulder, having quit a nine-to-five to dedicate himself fully
other dedicated creatives, can create unmatched experiences,” explained to the cause. “I really overextended at one point and went temporarily
Perdomo. “For this reason, I don’t call it a ‘touring club’ because the Fluffy bankrupt because I was so in love with the concept, and I wanted to make
Cloud can and has been used for everything from yoga sessions and it a reality,” he conceded. “At one-point I was in too deep; it was scary but
sound baths, to dinners and corporate events.” Thanks to his previous at the end of the day we were able to pull it off, by the skin of our teeth.

21
THE FLUFFY CLOUD

The response ever since from the Burning Man community was universal – rain, dust, and is really hardened. In fact, anywhere we visit now is easy,”
excitement and awe.” he laughed. “In an ideal world, where we use smaller teams, we can build
What started initially as a Burning Man project, harnessing the help of The Fluffy Cloud in two, 12-hour shifts. We’ve got five or six builds under
volunteers, now has evolved into a full-time, profitable, passion project. our belts at this point, and each time we’re documenting the process and
“I always knew that health and safety would be of paramount importance. improving consistently.”
The Fluffy Cloud had to be designed to the highest standards possible, The entire structure is steel, which is painted inside and out to prevent
so it could be permitted in several states as a touring setup,” Perdomo corrosion. There’s a main structure and exoskeleton that spans the
commented. “In fact, it’s now radically over engineered, which allowed me circumference. The ‘fluffy’ outer shell is made from a blend of material
to get permits in states like Florida or California where hurricanes and or – mostly glue and Polyfill, coated in a variety of substances to make it
earthquakes are commonplace.” fireproof. “A lot of experimentation has gone in to giving texture to The
As well as stability, Perdomo pointed out the importance of stage craft Fluffy Cloud’s darker and lighter sections,” Perdomo commented. “We
– making sure the project could be built and taken down quickly and safely worked closely with an audio team to test and tune the output of the sound
– drawing inspiration from SpaceX. “The reason that SpaceX rockets are a system, which must punch through a few inches worth of material – making
maximum of 8.5ft wide is because that’s the maximum width you can carry it acoustically transparent and fireproof was a huge challenge but after a
something on the road without it being a wide load,” he reported. “The few months of experimenting, we’ve come up with a formula.”
moment you become a wide load, your transport costs go through the roof, Made from steel, fibre, fireproofing materials, glue, Pollyfill, 33,000 LEDs
which is a big chunk of our setup costs – so the requirement was everything and 6,000 pounds of audio, The Fluffy Cloud is a true feat of engineering.
we do needs to fit into a standard 50ft transport trailer.” “The whole thing weighs in at around 18,000lbs,” he concluded. “It’s a heavy
The Fluffy Cloud breaks down into 46 primary pieces that use the same project, which we were working on nonstop for around 10 months in the run
bolts – Perdomo signalled the good work of two volunteers who really up to Burning Man. Since then, we have spent weeks on the optimisations –
helped him along the way: Sound Engineer, Deniz Akyurek of Perpetual simply put, we learn each time we deploy the structure.”
Wave Productions in partnership with Hennessey Sound Design and With an undoubtedly bright future, The Fluffy Cloud now has plans for
Lighting Designer, Gene Harrison. upcoming tour stops in Miami, Los Angeles, Las Vegas, and San Francisco,
“We are a scrappy amateur team, so we’re used to finding ways to do as the world’s first ‘touring event space’.
things at a lower cost. The rest of the team involved in the build are paid TPi
contractors – professional fabricators and engineers that have worked Photos: The Fluffy Cloud
on Burning Man and have a wealth of experience executing projects in a www.thefluffycloud.org
desert. As an IP67-rated facility, The Fluffy Cloud is designed to withstand Instagram: @realfluffycloud

22
 STRO NG ER
TO G ETH ER

A n o d e t o a ll o u r c lie n t s , s h o w c a s in g s o m e g r e a t p r o je c t s ,
m a d e w it h s o m u c h lo v e a n d p a s s io n .
L o o k in g fo r w a rd to m a n y m o re to c o m e ... O u r th o u g h ts a n d h e a r ts g o o u t
to a ll th a t a re im p a c te d b y th e c u rre n t c ris is ; o u r c lie n ts, u s e rs, A V te c h n ic ia n s
a n d a ll o th e rs in o u r b e a u tifu l in d u s tr y. O u r p a s s io n is s h a rin g y o u rs.
# s t r o n g e r t o g e t h e r # y o u r s t a g e o u r p a s s io n W W W .R O E V I S U A L .C O M
EVENT FOCUS

CONTOUR SHOWCASES
DRIVE-IN COMEDY

Meyer Sound rental partner, contour Veranstaltungsservice, teams up with Grobi.tv Heimkino &
mehr to provide a turnkey solution for the City of Kaarst’s first drive-in comedy show in lockdown…

Marking the company’s first foray into the return of drive-in 16 shows – featuring well-known cabaret artists, comedians and bands
shows across the globe in the wake of a global pandemic, contour from all corners of Germany from mid-April to late May – with at least two
Veranstaltungsservice has partnered with the City of Kaarst, Germany events taking place every weekend on the Drive-In-Comedy stage.
and Grobi.tv Heimkino & mehr to develop a drive-in comedy show which “At the first shows, 290 cars with two people each were allowed on
allows four-wheeled attendees to enjoy a stand-up set in the comfort of the property,” Domm recalled. “Over time and by popular demand, we
their respective cars, with a Meyer Sound system chosen for soundcheck. expanded this to 320 cars with people from a maximum of two households.”
Having been the event partner of the city of Kaarst for over 25 years, The German rental company brought in Meyer Sound ULTRA-X40 point
technically equipping around 80 events a year, business was far from usual source loudspeakers for the crew’s internal quality soundcheck. During the
for contour Veranstaltungsservice following the widespread lockdown of show, the audience tunes into the designated local radio frequency in their
live events. car to audibly experience the show.
“We discovered that the band, Brings, were to set to play a concert at “On stage we used four ULTRA-X40 point source speakers and two 900-
a drive-in cinema in Cologne in mid-April. We immediately brainstormed LFC basses from Meyer Sound for our crew’s internal quality soundcheck.
the idea that comedy events could also be organised in a similar manner,” During the show, we used two Amie studio monitors to check the sound for
contour Veranstaltungsservice’s Christina Domm explained, revealing that the FM approved radio signal.”
the rental company developed a swift technical and logistical concept for As an established general service provider, contour
Kaarst’s very-own drive-in comedy experience. Veranstaltungsservice provided a turnkey solution for the event which
“Working closely with the city of Kaarst and grobi.tv, we developed and involved building the stage, video walls, lighting rig, and handling the
implemented within just two weeks,” Domm added. The team put together logistics. To ensure the safety of the performers and the crew, mandatory

24
 DRIVE-IN COMEDY

masks were worn on site and distance regulations were observed during were happy to have contributed something that allows the local community
assembly and dismantling of the load in and out. to have fun, contact with artists and participate in live events during
Walking routes were also marked in the backstage area and singular this uncertain period,” Domm enthused. “We are now working on more
designated toilets were appointed for the artists and crew, which were innovative concepts. In Germany, we are gradually starting to see the light
cleaned regularly. “During the lunch breaks when the crew were eating at the end of the tunnel for live events.”
together, the distance regulations had to be observed (1.5m between every A Meyer Sound spokesperson stated: “The evening put a smile on
person) and disinfectants were made available to the crew and artists,” everyone’s faces and was a great success. More shows are scheduled. We
Domm explained. love seeing the creativity our community is producing to bring us all back
Similar measures were taken for the audience; cars had to be 1.5m together again. Good luck to contour with their upcoming shows!”
apart, tickets were scanned through the closed window at the entrance, TPi
and could only be purchased online and printed at home – and the Photos: Patrick Schappert
audience could not buy snacks or drinks, but were encouraged to bring www.contour.tv
their own. “The audiences were all very happy with the outcome and we www.meyersound.com

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26
 PRODUCTION PROFILE

LAURA MARLING: LIVE

FROM UNION CHAPEL

The English folk singer, in collaboration with ATC Management, embarks on a

livestreamed production like no other. Is this the new formula for live events
in the coming months? TPi’s Stew Hume finds out.

With her 48-date world tour cut short due to the COVID-19 pandemic, the singer’s streamed performance. “It was a 48-date tour taking her to
Laura Marling and ATC Management concocted a plan to produce a Australia, the UK, Europe and finally America.” Marling was in Australia
livestreamed production. With an audience comprising fans who had when the global community began to collectively shut down, meaning that
paid a ticket fee for exclusive access, this was to be a one-off, for-one- the main focus was simply to get the English singer-songwriter back to the
night-only, live performance unlike any other. UK. As soon as she arrived home, ATC brainstormed alternative solutions to
Since the lockdown came into effect, ‘streaming’ has been the word on resurrect the ongoing album campaign.
everyone’s lips. In our industry, streaming has varied from manufacturers “Like many others, we were slightly overzealous in our ambitions,
filming training sessions all the way down to the artists confined to their thinking that the lockdown would only last a few weeks and therefore set
bedrooms and living rooms for low-tech acoustic sessions in an attempt to about booking an intimate UK run of shows to make up for those we had to
keep connected to their fans. postpone,” reflected Salmon. “Very quickly, however, the penny dropped
One of the common themes across the majority of these options is that that this would not be the case. Our attention then turned to the possibility
they have been free. In fact, there are many who simply don’t believe that of Laura doing a performance in one of the booked venues, which could be
you can recreate the ticket model for a streaming alternative – especially broadcast live.”
when you are talking about live music performances. However, Laura Salmon pointed out the caveats for this project were two-fold; first, the
Marling’s latest set, shot at the iconic Union Chapel, and viewed by a loyal event would have a full production and the second, the event would be a
paying audience gathering online on both sides of the Atlantic, may prove paid-for performance. “The collective music industry has never really gone
the naysayers of this new form of entertainment wrong. for this style of a paid-for, full-production performance to be streamed
Curious about the rapid development of this style of show, TPi caught exclusively,” he stated. “Artists have obviously done livestreams – especially
up with the team responsible for putting the pieces together, which during lockdown – but up until now, these have either been free or as part
included: ATC Management, Pulse Films, Jackshoot, DICE and the staff of of a charity campaign.”
Union Chapel. In fact, a few days prior to Laura Marling’s show, Scottish singer, Lewis
Capaldi had performed a show that was behind a paywall – although
FROM A, T, C the format of that performance was still very much from his home. What
“The history of this event really goes back to Laura’s tour that was cut Salmon asserted was that the Laura Marling performance would be very
short,” regaled ATC Management’s Ric Salmon, speaking to TPi following much on another scale when it comes to production.

27
LAURA MARLING

LOCATION, LOCATION, LOCATION pandemic, but ATC’s request to use the Chapel gave us the option to bring a
The choice of the location came from the singer herself, who had few members of our team back to aid in the production.”
performed there a number of times over the years. “As soon as Union As the CEO of such an iconic independent venue, Chandler was
Chapel was on the cards, we got in touch with their team, who were enthusiastic about the possibilities that these projects could bring to UK
immediately receptive to the idea,” Salmon recalled. event spaces. “What the rules will be in the coming months for indoor
Putting on an event – even without a live audience – is not a simple gatherings is still up in the air,” he stated. “But if, for example, a 2m policy
task at this time, with endless social distancing regulations in place to keep was enforced, here at Union Chapel, due to the architecture, that would
those working safe. “Thankfully, we had a head start on all those elements,” mean a crowd of 84 people, instead of our usual 900. This is evidently not
explained Union Chapel CEO, Michael Chandler. financially viable.” However, Chandler suggested if the paid-for steaming
As well as a popular music venue, Union Chapel’s other focus is model proved popular, which could take place alongside a limited-
charitable work, including The Margins Project, which offers a range of compacity audience size, “live events suddenly look more viable”.
services to support people facing homelessness, risk of homelessness and
crisis in Islington. “Profits from the venue when we are running normally are ROLL OF THE DICE
sent straight into our charitable work,” explained Chandler, outlining the With the venue and date set, there was still the major question of getting
issues faced by the organisation, as the venue wasn’t making a profit while the infrastructure in place to create an exclusive portal in which fans could
the doors remained closed. pay for access and watch the show on the night.
“Once lockdown came into effect, one of our main focusses has been Having worked with ATC Management for a number of years, DICE was
the most vulnerable and we’ve been working on a number of things, brought in to create the digital infrastructure that would enable audiences
including helping to house individuals, as well as advice and support packs, to get the live event experience from the comfort of their homes.
for example,” he said. Talking through the company’s involvement with the project was Russ
“We have adopted stringent social distancing rules and practices, which Tannen. “When DICE launched six years ago, one of our main aims was to
are easily transferred to the Chapel,” he commented, adding that during create a better experience for those purchasing tickets to create a more
load-in, there was a strict one-way system in place for the production, as rounded experience at a show,” started Tannen.
well as strict space around the performance area. This ethos is what brought about features within the DICE app such as
“The timing of Laura’s show really could not have been better,” reflected sending information about bands and artists in the lead up to the show as
Chandler. “We had been considering streaming options for some time well as letting users know, via their contacts, which of their friends would
– even pre-lockdown – and we have had a few one-off performances in also be attending. “The fact is, we are a tech company, and as soon as the
the past. Regrettably, we had to furlough a number of staff during the lockdown was announced, we began developing strategies and solutions

28
 LAURA MARLING

for artists to keep a connection with their fans,” he said. During the first few it to people is that – can you imagine if the only people that got to see
weeks, the company was heavily involved in several streamed projects, Manchester United play were those sitting in Old Trafford? People across
which were either free or open to donations, but according to Tannen, the the globe for a long time have either payed for TV subscriptions or visited
proposition by ATC was of a different calibre. pubs who pay for an annual licence. There are a number of logistical
“From our first chat, they explained how they were looking at putting on challenges in going to see a show, from travel to accommodation, and this
an event that was in a great venue, had higher production values thanks to type of infrastructure where you could simultaneity stream a show could
the work of Pulse Films, and was to be sold to the audience for the price of a really open up live music to a far bigger audience.”
regular ticket,” he reflected.
Once on board, the company moved through the gears quickly, pulling FINGER ON THE PULSE
all the necessary infrastructure together. When the tickets went on sale, Pulse Films provided a camera package and lighting for the performance.
customers were sent a link that would be made active 15 minutes prior to Director, Giorgio Testi, was excited by the myriad options this project
the show, along with a unique code that allowed them to watch the show presented. “I’ve been filming live music as a director for close to 15 years,”
on another device. he stated. “I usually find this type of work when you film a band or artist is
“The feedback we have got since the show has been incredible,” stated a blend of cinema and TV. What can limit you in these projects can be an
Tannen. “It’s a weird thing to explain, but the event created a feeling of audience – there may be a shot you really want to get but you don’t want to
‘being there’ and witnessing something special, which was akin to a real-life create any sightline issues. Thankfully, this is no-longer an issue.”
show.” It should also be noted that once the show was over, the stream Testi explained how he had done some similar projects before – such as
could not be re-watched so, in essence, creating a live experience. Once the a rooftop shoot with Blur back in 2012 – but that doing a shoot for over an
performance was over, it really was over. hour was new challenge for him. “I knew I didn’t want to use a huge number
“Audience members were also able to interact with the show through of cameras for the project,” he stated. “The goal was to create an intimate,
the DICE app,” added Tannen. “They were able to fire off emojis, which cinematic feel. For example, for the first part of the set, there were 12 to 15
acted like applause. We also found that many people were interacting with minutes shot on one camera, which roamed around the space gently.”
the show via two devices, so watching the show on their TV and speaking The three operators manning the camera used ARRI ALEXA Minis with a
to their friends via their phones, creating quite sociable event.” This played final locked-off wide shot at the other end of the venue. The camera feeds
into DICE’s existing invite features when fans were purchasing tickets. “On were then sent to the OV trucks set up outside and streamed out to the
average, for each ticket sold, the buyer would invite 2.4 friends to the events audience thanks to the work of Jackshoot
as well,” he stated, outlining the potential reach of this style of event. Jackshoot’s Joint Managing Director, Abi Hemingway, discussed
“This trend really will be the lasting legacy of this outbreak from the the company’s involvement in the project. “Onsite we had four of our
live events world,” concluded Tannen. “The way I’ve been explaining crew alongside one remote broadcast engineer,” outlined Hemingway.

29
LAURA MARLING

“Obviously the impact of social distancing and enhanced hygiene producing a number of her studio albums including her latest release,
procedures mean that some tasks simply take longer now – preparing the Song for Our Daughter. “He is a brilliant engineer and tech and he was
kit for use by other people, for instance. For this particular show, we were very excited to be involved,” commented Salmon. “We put him and his
situated outside to help reduce the number of crew in the building, which broadcast tech in a backroom – isolated from the venue sound so they
meant enduring a mighty thunderstorm during soundcheck.” were mixing for that purpose.”
Although working under vastly different conditions, Hemingway was
pleased to report how everyone involved had adapted very quickly and WHAT’S NEXT?
incorporating hygiene measures such as the use of face masks and frequent Speaking to the collective team who pulled together the pieces of the
use of hand sanitiser into their workflow. project, all of them seemed to be excited for the future of this new style
“We are renowned for our focus on quality and reliability, and we of live performance. Indeed, ATC Management has already announced
have refined our workflows over many years of delivering live events for similar projects set to take place, featuring the likes of Frank Carter & The
online broadcast,” continued the Managing Director. “This project was Rattlesnakes and Sleaford Mods .
no different, with our onsite team taking Pulse’s beautifully crafted video “To be clear, I’m not saying that consuming a live performance through
feed and transmitting it over multiple connections (for redundancy) to a screen is the same as seeing it at a venue,” Salmon delineated. “I believe
our Manchester facility at BT Tower. From there, the feed was encoded for we have proved that there is another viable option and revenue stream,
onward distribution via the Dice PPV platform.” both now and perhaps for many years to come.”
To close, Hemingway gave her final thoughts on the project, which she As of now, the ATC team are busy speaking to a number of other acts
described as “a pleasure from start to finish”. She added: “After months of and one thing they have made clear is that they are encouraging artists to
remote broadcasting, it was great to be in a real venue again. We hope it’s involve as many of their production team within the projects as possible.
not too long before everyone can experience real music in venues again, “We’re hoping for all these projects to be as collaborative as possible and
but until that day, we’re committed to helping as many artists deliver their keep people busy during these uncertain times.”
performances online so they can still have that connection with fans.” TPi
Testi concluded: “You have to have the right performer for this type of Photos: Joel Ryan
project. From start to finish, during both performances, she was fantastic. www.lauramarling.com
It was a really interesting project and, as bizarre as it might seem, from the www.atcmanagement.com
resonance we’ve seen on social media, it seemed like people got a really www.dice.fm
‘live experience’ and felt like they were witnessing something special.” www.unionchapel.org.uk
Salmon credited Dom Monks, who handled the audio feed being www.pulsefilms.com
used for the steam. Monks has collaborated for a long time with Marling, www.jackshoot.com

30
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 PRODUCTION PROFILE

LOCKDOWN TV 2020

Broadcast live from a suitably socially distanced streaming stage at Sensible Music’s
Studio 4 in London, Lockdown TV 2020 gives artists the space to express themselves
and reach new audiences during uncertain times. TPi’s Jacob Waite reports…

Presenting an authentic live experience to viewers from the comfort multimedia space was also the former stomping ground of Chase & Status,
of their own homes, following the widespread lockdown of live events, where the Lockdown TV 2020 production crew first crossed paths.
Lockdown TV 2020 – powered by Andy Gangadeen, Video Illusions, With no setlist, albums or commercial product to promote, The
Sensible Music, Centre Stage Solutions, Oliver Kane, Backroom Bays relish the art of live experience, making them the ideal opening act
Productions and Matt King – kicked off proceedings with a raucous live for Lockdown TV 2020. “It really was a simple case of joining the dots,”
performance from The Bays on 21 May, with follow-up livestream sets Gangadeen commented.
from Rebel Clash x Cuppa Sounds supported by Rinse FM, Killer Hertz, He explained that the team’s quest for perfection sets Lockdown
and THE EGG. TV apart from other studios and livestreaming projects on the market.
After witnessing a proliferation of DIY livestreams in response to the “Streaming is about creating a new model,” he underlined. “Unlike a
COVID-19 pandemic, British drummer, Andy Gangadeen – known for his gig, where you have immediate interaction with your audience or TV
artistry with The Bays, and also his work as a session drummer for the likes performances like on Later… with Jools Holland, where there’s still a degree
of Spice Girls, Chase & Status and Massive Attack – decided to call to arms of interaction, streaming for most performers is an alien concept. Our aim
a set of trusted live events professionals to set a precedent for what live is to approach it with a new mindset of trying to make streaming as much of
music in lockdown should look and sound like. an immersive experience as possible for anyone watching.”
“I noticed there was a lack of detail and finesse on every level of Having quickly learned and developed the formula for success,
the presentation of DIY livestreams; it dawned on me that there was an Gangadeen was quick to point out: “Every band has their own anomalies.
alternative,” Gangadeen stated. “There must be a way of having high- It’s a new beginning for me and I think streaming will still be in force once
quality sound, lights, visuals and filming achieved successfully within the ‘gig’ economy is back up and running,” he summed up his experience of
COVID-19 regulations.” the project. “The point is to create a new type of experience and not to try
Gangadeen enlisted the support of Engineer and Producer, Jon Moon and replicate.”
of Sensible Music; Video Illusions; Centre Stage Solutions; Jamie Young
of Backroom Productions; Videographer, Oliver Kane; and Photographer, VIDEO
Tom Oldham – as well as well as second in command Bays’ member, Oli Video Illusions Co-Managing Director, Nick Whiteoak was at Cheltenham
Wiseman, all of whom had all their upcoming work for the foreseeable Racecourse during the week leading up to lockdown. “We typically supply a
future cancelled. 100m by 2m long VIL6mm LED digiboard at the finish line,” he explained. “As
Broadcast live from Sensible Music’s Studio 4, a stone’s throw from we were packing up and loading out, we received the news that Formula
London’s King’s Cross station, the rehearsal, recording, production and E Rome, Formula E Paris, Slam Dunk Festival and Ramblin Man Festival

33
LOCKDOWN TV 2020

were all cancelling their events in the wake of the global pandemic. We disposal and it would be remiss not to capitalise on it.” Following a meeting
also had a run with drum and bass act, Hybrid Minds, having designed and of production minds on the now-ubiquitous conferencing tool, Zoom, the
fabricated the band’s March tour and summer festival run,” he reminisced. team outlined the modus operandi.
“The list of jobs lost just continued until our entire 2020 yearbook was “We want Lockdown TV 2020 to feel more like a live festival atmosphere,
wiped out.” as if the viewer is watching from home, and the best way to do that is by
Faced with the prospect of no work throughout the summer, the team delivering a full production package,” Dave furthered. “With the right
had to go back to the drawing board to seek alternative revenue streams techniques, camera angles and directing, we’ve managed to deliver exactly
to weather the economic shock of the lockdown and keep the company what we set out to do. Even though we have a lot of amazing technical kit
afloat. “We began to work on new plans to survive as a company; livestream involved, it’s not always about what you have, but rather, how you use it!”

studios and drive-in cinemas are something we hadn’t done before, so The other key to capturing this “festival atmosphere” was that
it was like walking into unchartered territory,” explained Dave Whiteoak, Lockdown TV 2020 is genuinely live. Nick elaborated: “Some of the other
Nick’s brother and fellow Co-Managing Director of the company. livestreaming shows we’ve seen are pre-recorded and lack a bit of soul and
“To be completely honest, I had nearly given up faith completely rawness to them, whereas Lockdown TV 2020 truly transports the audience
and I had to focus on something that would keep my brain active, so I into the live element with a high level of performance and production –
was at home at the time working on my Honda CRF450 motorbike in the which is what we pride ourselves on at Video Illusions.”
garage when I got a call from Andy Gangadeen,” he recounted. “After the Nick believed that Lockdown TV 2020 sets itself apart from other
conversation, everything seemed to fall into place, so I called all the lads livestreams due to its “real-world” nature, in bringing a live gig into the
who, like us, were not seeing light at the end of the tunnel and told them viewer’s living room. “The audio quality coming from Jon Moon’s mixing
about this project. Thankfully, they were all more than willing to pitch in.” desk delivers world-class sound, Centre Stage Solutions’ Taylor Egan
Having watched many bedroom studios, gardens, lake, rooftop and DJ has provided the perfect lighting solution, while Video Illusions provides
livestreams during lockdown, the Video Illusions team were finding familiar Blackmagic Design Pocket Cinema cameras and VI-LM 3mm pitch LED
faults. Dave commented: “I felt that a lot of the streams could have been screen,” he noted.
done so much better. I understand that people are working with what Content playback was performed by Resolume 7, controlled by Dave
they have. However, we have kit, crew, artists and a studio space at our and VJ, Bertie Sampson. Video Illusions Head of Technical, Oli Chilton

34
 LOCKDOWN TV 2020

oversaw the uploading of the streams and overlays, while Nick manned the Egen walked TPi through the COVID-19 secure measures put in place to
robo cameras along with Ross Jordan and Oliver Kane. guarantee the safety of the artists and production crew. “We have all been
“This is a strong team. Jon is a triple-platinum GRAMMY Award-winning provided with face masks and remote hand wash points throughout the
Sound Engineer, who we’ve known for several years from his time working building,” he explained. “We also adhere to the 2m social distancing rules.
with Chase & Status. We’ve known Andy Gangadeen for a decade or so, The size of each act is also in line with the social distancing guidelines.”


and he is a huge part of Lockdown TV 2020’s conception along with Dave,” With two performances under their belt, Egan noted the evolution of
Nick commented. “Live production is in our blood – it is what we do. Having the project. “I’ve changed the lighting package to cater for each band and
the initial shock of the 2020 order book cancelling and then the following artist,” he added. “This also gives viewers a different look, which fits with
lockdown meant that we were unable to deliver live shows – until now, with the performers’ aesthetic each time around.”
Lockdown TV 2020.” He noted the challenging climate of presenting a live gig with no
audience but praised the Video Illusions team’s expertise. “It has been a
LIGHTING challenge to replicate a ‘real-world gig experience’ online, but the camera
Centre Stage Solutions’ (CSS) Taylor Egen was working on a TV series when package provided by Video Illusions and their expertise of camera angles,
lockdown came into force. “Since the lockdown has been introduced, perspectives, shooting styles and cuts has made the world of difference,”
all of my planned work was either rescheduled or, sadly, cancelled,” he he concluded. “I’m looking forward to all the venues reopening their doors
explained. Egen was initially approached by Video Illusions to support and bands and artists to be touring again as soon as possible.”
Lockdown TV 2020, having worked closely with the video specialist
on several music festivals – a prospect that he was very intrigued by. SOUND
“Lockdown TV 2020 is a new way to bring a live band experience to music With over 35 years of experience in the music industry, working with
fans across the world online,” Egen noted.

 established, new and upcoming artists, Sensible Music’s Jon Moon was on
CSS provided a lighting package, which comprised four Martin by the cusp of recording a large string section in Studio 4 with Mike Chapman
Harman Rush MH7s, four Showtec S5000s Hellix, six Martin by Harman Rush for Chris Norman’s (Smokie) new album, which he had been working on
MH6 Washes and an Avolites Sapphire console for control. Show Operator, over the course of the year, as well as a dozen other projects, when the
James Coxon of CSS joined Egen in the not-so traditional lighting team.
 lockdown came into force. Moon recalled the “long and vibrant” path that

35
LOCKDOWN TV 2020

led him from the initial discussion phase to the final destination: Lockdown THE FUTURE
TV 2020. Taking place every Friday night, Lockdown TV 2020 has already proved
“The idea of broadcasting a music show from Studio 4 was always popular in the ever-adapting live digital landscape. Video Illusions’ Nick
our aim,” he stated. “It’s such a magical space for performers that when Whiteoak also shared news of increased streams in the works. “We have
Andy Gangadeen hired the room with the idea of broadcasting his then- a steady flow of bookings to use the space, which the audience can tune
cancelled jazz café gig, it was the major turning point for the project.” into on Twitch, YouTube, or Facebook,” he explained. “Our third livestream
Gangadeen introduced Moon to what would eventually become the features Killer Hertz, an exciting Brighton and Belgian-based drum and
Lockdown TV 2020 production crew. “We came up with a plan to produce bass act that had a stellar line-up of festival bookings this year taken away
a very high production value show and give a stage back to the audience from them, as well as dance music veterans, THE EGG.”
and musicians. Broadcasting live is the exciting part!” Moon enthused. Above all, what is evident when speaking to the collective, is that this
“Lockdown TV certainly feels like a traditional gig when we shoot it. Studio band of live events specialists have truly brought the ethos and work ethic
4 is a fantastic room with its pitched high roof and Old King’s Cross brick from both the touring and festival realms, and seamlessly transitioned into
walls and magical acoustic properties,” he commented, pointing out the the studio format. “Everyone involved in this project before the lockdown
theatrical surroundings. was focussed on perfecting the craft of live events, so recreating that
“I was doing a show with Orbital at Printworks on the Saturday night experience in the studio world has fallen into place,” concluded Dave
when things were already starting to kick in, but nobody really knew how Whiteoak. “I suppose you could say it’s all we know.”
to deal with it. It was a very odd moment to realise that it might be the final TPi
gig in a long time, but it turned out to be great show to finish on,” recalled Photos: Tom Oldham
Lockdown TV 2020 Artist and Production Coordinator, Jamie Young of @lockdowntv2020
Backroom Productions. “Lockdown became a reality on the following www.ldtv.uk
Monday. Since then, I’ve been pottering about in the garden and around www.thebays.com
the house before joining the Lockdown TV 2020 team. Coming from a tour www.videoillusions.net
and production management background, this felt like the ideal project to www.centrestagesolutions.co.uk
keep me busy during lockdown.” www.sensible-music.co.uk

36
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 WELCOME TO THE
DIGITAL WORLD

With more artists then ever exploring the possibilities of virtual gigs, TPi’s Stew Hume
and Jacob Waite explore the opportunities for those looking to replace line arrays and lighting
rigs with lines of code and avatars – as live music and the gaming industry joins forces for
a whole new breed of live event…

During this unpredictable time for the music industry, artists still hoping Vocal Series software was considered the first truly crowd-created virtual
to perform have been faced with two options: livestreaming or socially talent on the circuit. “The live entertainment industry has changed
distant outdoor events. The former has taken many guises over the past massively, with bans on public gatherings and the surge of virtual gigs
three months, ranging from intimate acoustic shows in artists’ front online,” SFX Technician, Natalie Frew explained. “Shows are going to
rooms, to more high-tech solutions filmed from bespoke studio spaces. change, and everyone is looking for something unique to promote.”
The latter option has seen several drive-in shows take place which, in And how right she was. Since lockdown, there has been a proliferation
a few short months, have already seen an upswing in popularity within of instances where the music and gaming worlds have collided. Perhaps
Europe and the UK. the most notable example is Travis Scott’s performance in Fortnite to an
While both solutions have produced their fair share of success stories, audience of 12 million players.
there is now a third option that is gaining ground – one we had certainly not A gargantuan feat, the TPi team was keen to explore the concept further
predicted that we’d be covering in our pages any time soon: Virtual events, – and we’re not the only ones. It seems that a number of people on our
which have made headlines across the globe, with artists entering the side of the aisle have already shown interest in this new form of live events,
gaming sphere and performing for a virtual crowd. and many show designers, LDs and content creators who often feature in
In May, we looked back on one of the most unique tours of the year: the pages of TPi are starting to look at the virtual world as a viable – not to
Hatsune Miku’s EXPO 2020 EUROPE. The Yamaha Vocaloid 2’s Character mention profitable – alternative under the current circumstance. What’s

38
 PRODUCTION PROFILE

more, it seems that this style of live event is not simply a stopgap while the live events specialists in PRG’s 35LIVE!, Blink TV and Total VU. “We were all
world is still in lockdown, but a genuine option for the future live landscape. interested in trying to make this concept work,” Whitehouse explained.
In many ways, the conjoining of gaming and live events has been With the collective expertise, financial backing and leads into other
in the pipeline for several years – for example, the development of sectors that are pioneering technology in this field, Fireplay has managed
previsualisation software and CAD solutions similar to video games. to bridge the gap – delving deeper into the vortex of virtual concert
“The gaming world is currently the only platform that has cracked solutions. “It ultimately led us to uncover how to get the band in harmony,
the latency issue of streaming an event,” Fireplay CEO, Nick Whitehouse but now we must conquer the challenge of getting artists to perform to
commented. “Players from all over the world can play Call of Duty online a centrally distributed click track or a monitor mix in harmony, which is
and everybody is completely in sync – there’s no delay between interaction something we’ve been developing steadily since March.”
with users from across the world.”
Whitehouse explained how the TPi Award-winning creative design and VR/AR
production outfit has been depending heavily on the technology gamifying As an enthusiastic proponent of virtual reality, MelodyVR was founded with
live events. “Using gaming-like sync techniques and next-generation the vision of providing fans with a new and exciting way of experiencing the
customised visualisation software, we can offer a virtual audience to live music they love, regardless of their location, age or financial means,
anything, from sitcoms and awards shows, to sports, gigs, conferences, and and with a view that the company or content would never seek to replace
product launches.” the thrill of attending concerts, festivals or tours in person.
Indeed, Syncronorm’s Depence² inbuilt 3D engine allows end users to Speaking ahead of the launch of Wireless Connect, Wireless’ answer to
simulate and visualise fountains, stage lighting, lasers, video and special a summer festival in a COVID-19 world, was Melody VR Production Director,
effects in real time, with its environmental rendering capabilities – such as Mike Darling. “The company’s capabilities are pushed by every new
changing the location, time and the positioning of the sun – allowing users project,” he commented. “The teams across the company adapt to the new
to integrate a multimedia show into a natural environment. challenge – the equipment has to meet new demands and new capacity,
“I recently presented visuals to a client of a big urban show, and the and the app has to be able to handle and deliver on the new demands we
visualisation included animated rappers on stage through Depence². To a place on it, so that any new viewer’s experience of it will be as positive as
client, that was staggering,” TPi Awards Lighting Designer of the Year, Tim possible. We know we might have one chance to impress and win over a
Routledge, told TPi. “As soon as you show clients realistic special effects new audience.”
and pyrotechnics, they’re impressed immediately.” In VR, Darling explained, the environment is more intimate, and the
During these unprecedented times, it is difficult to foresee the artist can perform with more subtlety. “The audience are stood in the
upcoming changes and challenges that the touring industry may face and, room, or on the stage with the artist, which is a treat you wouldn’t get even
with the lockdown of live events in full effect, more production teams with the best kind of VIP pass,” he stated. “We also give our audience the
and artists are turning to livestreams as an alternative revenue stream. freedom to look around and move positions like you might at an actual
However, according to Whitehouse, broadcasting live music over video event. Fans appreciate this hugely and it sets our experience apart from a
conferencing software successfully in real time from multiple locations is 2D TV-style broadcast where a director decides what you look at.”
simply not an option for most artists. “There is very little on the market to It is said that creativity thrives under constraint and the lockdown is no
do so, affordably, because it’s never really been a problem the industry has different. “There’s been a lot of rethinking generally, and artists and labels
encountered before.” have been looking for a creative outlet, whereby they can connect with
With that in mind, Fireplay set out to try and find out a way to remedy their audience in a fresh way and with a quality production,” Darling stated.
the issue, which has led the company to work closely with a number of “It also gives them ideas of what they can do without being able to travel

39
THE DIGITAL WORLD

Fireplay CEO, Nick Whitehouse; Satore Studio’s Creative Director, Tupac Martir.

to their audience. They might start to think of what’s possible in VR, and landscape. “Artists would much prefer to get involved in drive-in shows,”
benefits of this for them and their audience. It will create a different playing Martir acknowledged. “The industry has had to adapt. Suddenly, media
field where we are thinking in new ways that might prove more sustainable servers are more prevalent than ever – commissioning content months in
for artists, promoters, suppliers and the environment long term.” advance, and three days of rehearsals in order to sync everything. It’s more
As a company that has deep-rooted experience with virtual events than cutting cameras – there are all sorts of creative avenues to explore.”
and immersive content, MelodyVR is well positioned to benefit the music When COVID-19 rocked the industry, the response from Satore’s virtual
industry, including promoters, artists, managers and record labels – many production studio was to act creatively, positively and quickly – sharing its
of whom are unable to conduct their business operations as usual. signature blend of architecture, light, magic, and storytelling to create a
“Our studio facility in LA and the production we have created for unique and eye-catching live music collaboration with electronic musician
Wireless Connect in London are custom designed to maintain stringent and producer, VAAL.
safety standards while creating the highest possible quality content, Giving his views on the digital event, Martir commented: “The idea to
leveraging our unique skillset of broadcasting immersive performances work on this project came from a love of creativity and a joy in sharing
digitally via the MelodyVR platform,” Darling furthered. “Many more new visual experiences made possible by cutting-edge virtual production
people are now aware of VR and open to using it, and the barriers to it are techniques. The set provides an array of stunning, dynamic visuals enabling
low, given anyone can download the app for free onto a phone or tablet fans, producers and creatives to have fresh conversations about what
and begin using it with ease. This has fast-forwarded artist and audience they have experienced whilst also creating a valuable platform for Satore
engagement with the tech, format and platform.” to support Music Venues Trust and Black Lives Matter charities, who are
Satore Studio’s Creative Director, Tupac Martir is a stalwart of the virtual striving for a fairer future.”
production realm. Having spent the past 12 weeks of lockdown in his Given the widespread lockdown of live events, production teams and
London studio, often assuming the unofficial IT role, he sat down with TPi – artists are now presented with a landscape where any mass-gatherings or
remotely – to reflect on the digital landscape. public events are prohibited, which is extremely damaging to both artists
“This isn’t a fad or a spur-of-the-moment thing; VR/AR is a part of and to the music industry. Is there another way of touring? Martir thinks so.
the creativity that exists within the studio, which we have been working “The concept of going on the road for nine months and not eating or
with since 2015 – it is part of our DNA,” Martir explained. “A lot of what sleeping well isn’t for everyone,” he commented. “We’re looking at ways
we’ve been working on is understanding shows as performative art and of finding the correct balance, which is important. We need to support all
experiencing them in different realities; by understanding how to do things facets of the industry, from caterers to technicians. I can’t wait to do shows
in different realities, we’re able to explore innovative ways and present new again, but we need to understand the humanity of touring and find ways of
possibilities for how a show could work.” bringing very capable human beings into other parts of the industry.”
He said despite the growing enthusiasm and buzz around the concept, While a virtual audience can never replace the energy and excitement
not much is being spent on it just yet – understandable, given the uncertain of ‘traditional’ live events, if such a term exists, new interactive experiences

40
 THE DIGITAL WORLD

are becoming increasingly available. In May, XR Studios leveraged the

latest technology from disguise to bring the future of broadcast to prime-
time US television, when Katy Perry performed her latest single, Daisies,
on the season finale of American Idol.
The project relied on the collaboration between the creative and
technical teams led by XR Studios, with content by Silent Partners Studio
using Notch VFX, direction by Silent House Productions and PRG North
America as the production vendor.

Wash light – with an Edge

In June, French musician Jean-Michel Jarre performed live in a
specially designed virtual world, broadcast in real time across digital
platforms, in 3D and 2D. “Everyone could share the experience via PC,
tablets, smartphones, or in total immersion on interactive VR headsets,”
Matir said. “Even though they had headsets, it was immersive, and they
could experience this organic moment with people across the world.”
Whitehouse referred to recent advancements in virtual audiences
in the sporting world – thanks to a virtual stand, fans of the Danish
Superliga side AGF Aarhus were able to watch their club’s season opener
against Randers in May despite COVID-19 restrictions. The screens
allowed fans to show their support – and let the players hear them.
Visions of the legendary, sheepskin-clad Match of the Day commentator,
John Motson harking back to the age-old adage of football fans being
12th player on the pitch, seemingly now more relevant than ever.
However, despite the ingenuity of sports clubs, it’s video conferencing
software that needs to be revamped to become a worthy challenger
in the battle for digital audience solutions. “Everything that currently
exists has latency in it,” Whitehouse explained. “You don’t want someone
scoring a goal and the crowd reacting 30 seconds later, so what we’ve
been working on at Fireplay applies across the spectrum of live events.”
Television channels have also begun dubbing behind-closed-doors
games with pre-existing video game crowd noise. “I don’t think we’ll ever
fully replace the live experience,” Whitehouse commented. “Nowadays,
you can tune into a sports match and follow the action much closer
than you would in person. However, people still choose to attend these
matches in their thousands for the live experience; there’s something
about the live experience you simply cannot replicate – the emotion
and feeling closely associated with music, which simply doesn’t always
translate on the big screen.”
Martir signalled the emergence of eSports as a contributing factor to
the gamification of live events. “At a certain point, our industry started
serving eSports, so it was a matter of time for the gaming engines to
infiltrate the live touring and events industry. I don’t even like to call
them gaming engines anymore – I just call them engines, because they
are multifaceted and have given us the opportunity to create all sorts of
Get your Pix fix
things,” he commented.
“If you think about the reach of Travis Scott’s Fortnite gig, for
highend.com/solapix
example, millions of people tuned in to watch and experience that
moment live, in a matter of minutes,” he said. “Imagine how long it would
take him to go on tour and be seen by that number of people. It’s a
scary time for artists who must shell out more for production, having no
income other than streaming services.”
Despite making significant strides over the past few years,
Whitehouse was aware that emerging technologies still had a long way
to go, in-order to bring ‘real-life’ gig experiences to people’s homes. “As
virtual events come to the forefront, they will require more incentives
and interactivity to keep audiences engaged,” he continued. “The virtual
space is new for all of us, but it’s great for the music industry – especially
because it’s forcing us to think outside the box. While the XR world
doesn’t necessarily require the same audio, lighting and video specialists
as live, it does require creatives to develop and produce a unique visual
world, which is also our world...”

EVENTS ALREADY IN THE PIPELINE

In a few months, there have already been some interesting collaborations
taking place from Zoom calls across the globe. One such project is Lost
Horizon. Brought to life by the team behind Shangri-La, in partnership
with VRJAM and Sansar, Lost Horizon was a two-day event, in which
gig-goers were able to create a virtual avatar – either via a VR interface
or simply from their computer – and interact with the largest ever virtual
music and arts festival.
With four virtual stages, including a replica of the iconic Shangri-
La Gas Tower, gig-goers were promised a truly immersive experience
where they could not only enjoy sets from the likes of Fatboy Slim, Carl
etcconnect.com highend.com
Cox and Pete Tong to name but a few, but also interact in real time with
fellow attendees – all from the comfort of their own homes. Prior to the

41
THE DIGITAL WORLD

weekend’s festival, TPi got a chance to speak to Robin Collings – Producer aesthetic and visual language. Also, the reason for this was to create
of Shangri-La, as well as Head of Production at Boomtown – about the opportunities and work where it’s fallen away so it felt like the right thing
experience of swapping his usual summer of muddy boots and festival to do to use the same team.” Some of the team were put on a few training
fields for the novel world of virtual gigs. courses so they could work out how to optimise their designs for the Sansar
“Like the entire industry, the reality began to dawn on us earlier in the Platform – “so as well as creating work, the team will come out of lockdown
year that most of our work would be postponed and – as is our nature in the with a new set of skills,” enthused Collings.
Shangri-La camp – we began to look at other options to keep some essence Despite being built on ground-breaking technology, incredibly, Lost
of this year’s event alive.” Horizons was a free event with no paywall. Collings explained: “It’s all
While coming up with ideas, the team was approached by VRJAM – free but there is a donate button and we are raising money for Amnesty
specifically its CEO, Sam Speaight. “When Sam came to us and explained International and The Big Issue; there is a lot of heavy stuff going on in
the idea of a completely virtual show, I think I can speak for everyone when the world right now and both organisations need all the help they can
I say that we were more than a bit sceptical,” admitted Collings. However, get – we are hoping that this event will help to raise a lot of money for both
when they were taken on a virtual tour of the Sansar platform and began to organisations.”
see what could be achieved, the metaphorical cogs began to turn. Looking to the future, Collings explained how he expected such
Sansar, for the uninitiated, has been under development for over five technology would be used in the years to come. “We are already looking
years, built on the trend that live culture and the gaming worlds were at another event later in the year. What we are looking at is a future where
starting to get closer together and looking to develop a virtual space where both a virtual event and a true live event would be able to take place
people could enjoy live events. simultaneously. So, in the virtual space, there would be an IMAG screen
“What really attracted us to the platform was its ability to really show showing footage of the actual event in the real world and vice versa.
off the work of our visual artist,” explained Collings – commenting on the We don’t think this will replace live events, but what we do see is an
level of detail that the platform offered all the artists and collaborators that opportunity to expand the reach of the events.”
help to make Shangri-La the visual feast it is known as. “Kate Dunnings, our If you want to hear more about Lost Horizon and Wireless Connect, stay
Creative Director, has spent hours upon hours in the past few weeks with tuned for the next issue of TPi, where we will have coverage of the event.
her VR headset doing what she usually does on any festival site – walking
around and ensuring all the commissioned structures and art pieces are in YOU’VE BEEN LIVING IN A DREAM WORLD
the correct space – but instead of nuts and bolts, it’s lines of code.” The more we hear about the ability of these new platforms, the more
In a press release prior to the event, Dunnings commented: “We need compelling the idea of a virtual gig seems to be. One thing that all
unity more than ever right now, in an industry that is falling away in front of individuals we spoke to for this article seemed to hammer home was that
us. By creating a digital platform to experience art and music in a new way, this was not a replacement for live events – but an alternative. As we have
we are at the forefront of defining the next generation of live entertainment seen in the past few months, the ability of streaming has already proved
and creative communities as we know them.” lucrative – see Laura Marling coverage on p26 – but the virtual platforms
When it came to the performances, there was a mixture of live footage cropping up seem to be going a set beyond. Who knows, this might not
and pre-recorded sets – with artists from across the globe being filmed in be the last issue of TPi to have a virtual stage grace the cover. Either way,
specialist green-screen studios that had cropped up in cities around the whether you are designing a stage show for a concert or for a simulated
world. “We already had performances submitted from Manchester, London, experience, it’s the same creatively – just a different paint brush.
New York, LA and Seoul,” stated Collings TPi
But despite working under all these new parameters, Collings asserted Photos: Shangri-La, Fireplay, Luke Dyson and Satore Studios.
that one thing that was of the utmost importance was keeping the core www.fireplay.com
Shangri-La family in place to pull the pieces of this event together. “Having www.melodyvr.com
the same team for this project has been really beneficial,” he stated. “We all www.satorestudio.com
know how each member of the team works and understand each other’s www.losthorizonfestival.com

42
 Click
watch vitdo
eo

Empty spaces,
we miss you ALL...
MARKET FOCUS

OUTDOOR LED SCREENS

In line with the proliferation of COVID-19 safe events, TPi examines the latest range of LED screens
and solutions on the market for organisers of drive-in shows and outdoor screenings.

ABSEN
PL3.9 Pro and PL4.8 Pro – part of the award-winning Polari LED series – are
high resolution hybrid indoor / outdoor LED displays perfectly suited for
live and corporate events. Boasting 5,000 nits ultra-high brightness and
extreme contrast levels, the Polaris hybrid displays deliver maximum rental
revenues and the fastest ROI. It features Common Cathode Technology,
ultra-wide viewing angles, superior colour and high dynamic range for
event stagers looking for superior visual display performance.
Mechanical advances including auto-lock, auto-eject and fast-switch
curve locking systems simplify and speed up the installation and operating
process. Polaris has quickly become the product of choice for many of
the world’s most prominent rental staging companies who are looking at
generating revenue all year round. Thanks to its hybrid design, there are
no compromises on outdoor brightness or indoor contrast. A summer
blockbuster, that will continue making money across all seasons. In stock
and available for immediate collection.
www.absen.com

44
 LED SCREENS

ADI.TV

iCONIC 100 mobile LED screen is one of the largest in its class and is proving
incredibly popular for the drive-in event formats springing up across the
UK and Europe. Known for its iCONIC fleet – the world’s largest and widest
range of mobile LED screens – ADI has consistently invested in its innovative
products and currently operates in excess of 50 mobile units, including
more than 10 of the iCONIC 100s.
Ideally suited to larger or more distant crowds, the iCONIC 100 features
a 100 sq m HD display in 10mm SMD that provides incredible clarity and
image quality and delivers full pixel mapping. The display can also be
rotated through 360° for precision positioning and it’s a self-contained
solution with onboard generator and play-out. A huge advantage of the
iCONIC 100 is the fact it can be operated by a single driver technician, with
set-up and de-rig exceptionally quick; achieved in under an hour.
Drive-in event organisers have a huge selection of products to choose
from within the iCONIC fleet, ranging in size from a gigantic 120 sq m to
the compact 12 sq m, with multiple matching units available. Alongside
mobiles screens, ADI also offer a wide selection of outdoor modular LED
products for the live event market.
www.adi.tv

ADJ

AV4IP is a portable modular LED video panel solution designed for

concerts, festivals and other temporary outdoor events. It features a
weatherproof case design that is IP65-rated on the front and IP54-rated on
the rear. With an impressive brightness of 4,000 nits and a high pixel pitch of
4.81mm, it can be used to deliver sharp video playback outside for events
taking place both in the evening and during daylight hours. Weighing just
20lbs / 9kg, and fitted with a retractable carrying handle, the AV4IP is easy
and convenient to lift, carry and rig. The panel features a quick-lock design
that allows a large screen constructed from multiple panels to be setup
quickly and easily. An internal 14-bit Novastar data receiving card means
that multiple panels can be linked together using standard ethernet cables
connected to one of ADJ’s range of video processors.
www.adj.com

45
LED SCREENS

CHAUVET PROFESSIONAL

CHAUVET Professional has expanded its popular F Series LED panels to

offer solutions for a wider range of applications with the introduction of
the new F5 IP, an outdoor rated 5.9mm pixel pitch panel.
Working with the VIP Drive 43 Nova using the Novastar control
protocol, its high quality black-bodied LEDs accurately reproduce
video at 14-bit grayscale, operating on the Novastar A5 receiving card.
With a 1,920Hz refresh rate, maximum 6,000 nits illuminance, and
12,000:1 contrast, it’s ideal for displaying bright, powerful images at
outdoor festivals. Engineered for dependability, the panel has a light
source life expectancy of 50,000 hours and features optimised heat
distribution across the entire panel for enhanced colour quality.
Anyone familiar with other F Series panels will have no trouble
installing these newcomers. That’s a good thing too, considering
that these panels should now be appearing in a wider variety of
applications than ever.
www.chauvetprofessional.com

PRG

With a large fleet of flexible LED Truck and LED trailers with high-resolution
LED screens at its disposal, PRG’s systems are self-sufficient and can be
installed quickly and easily. Standard image formats can also be used, and
these systems are well suited for digital signage applications such as traffic
guidance, information, and advertising. Due to the extremely short set-up
and dismantling times, PRG’s LED trucks and trailers are also suitable for all
types of open-air tours, sports events, festivals, drive-in concerts, cinemas,
or anything else. Alternatively, modular high-end LED solutions can be used
and arranged as required. PRG is on hand to advise on the right choice of
LED solution for you and will ensure your event is a success.
www.prg.com

46
 LED SCREENS

PROLIGHTS

PROLIGHTS’ OmegaPix family includes IP65-rated LED screens that

are specially designed to offer advanced mechanical features, creative
configurations and enhanced video image quality – providing a state-of-
the-art, top-quality visual experience for both daytime and evening events.
PROLIGHTS’ range of high-performance IP65-rated LED screens include:
18bit+ greyscale, which effectively improves greyscale performance under
low brightness, showing more exquisite and expressive images; ClearView
to adjust the texture, size and contrast of images in different areas,
further enhancing image details, and rotation enabled 360˚; as well curve
configurations both concave and convex through curving mounting plates
(0 to 10° concave, 0 to 5° convex), seamless 90° corners through special 45°
cutter cabinets and assisted mounting magnets for one-person strong,
quick setup. PROLIGHTS’ AlphaPix range of high-resolution LED screens are
a cost-effective option, and ideal for those looking for great results but on a
smaller budget.
www.prolights.it

VIDEO ILLUSIONS

With the company’s outdoor screen options in high demand, Video

Illusion’s clients are among the growing trend of production outfits
devising innovative ways to produce shows utilising outdoor LED,
and the company are assisting these in every way it can – safely and
professionally.
Video Illusions’ Layher scaffold structures and ground stacked
VIL6mm and VI-ER4mm LED screens have been deployed across a
range of locations in Europe, particularly at drive-in concerts and
outdoor cinema screenings.
In response to the unforseen arrival of the COVID-19 pandemic,
Video Illusions has pivoted and diversified its revenue streams to
become a one stop shop for Layher, LED, generators, lighting, fencing
and toilets for these events popping up UK wide. Video Illusions has
always prided itself on its ability to adapt and work through obstacles
and a global pandemic is no different.
www.videoillusions.com

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LED SCREENS

ROE VISUAL

The Black Quartz LED panels by ROE Visual are equipped with an integrated
wind-bracing system. The bracing system for the Black Quartz consists
partly of carbon fibre, to reduce the total weight of the panel. It’s an easy,
fold-out system, that connects fast with simple locks, no tools are needed.
Once mounted, the LED panels are wind-load resistant and can be used in
windspeeds of up to 20m/sec. They can be built up to 5m high in a stacked
configuration or 20m high in a flown system.
Using Black LED with 5,000 nit brightness, the Black Quartz LED panel
sports a high contrast ratio and wide colour gamut. To facilitate on-site
repair and quick maintenance, the modular design of the Black Quartz
system offers easy front and rear module replacement, as well as a quick
PSU swap. The added ladder steps in the bracing system, give climbing
access for maintenance.
The rigid frame of the Black Quartz LED panels enables flawless
connection of even the smallest 3.91mm pixel pitch. The integrated edge
protection makes building fast and easy, while the use of dollies guarantees
optimal handling and transportation. The Black Quartz builds fast, creating
a seamless LED screen with a great visual performance.
www.roevisual.com

ALL ACCESS

All Access, is safely bringing back live events through its innovative
VersaPlex Drive-In Events capabilities. Due to the impact COVID-19 has
had on the entertainment industry, All Access pioneered the VersaPlex
system which provides an outlet for in-person event interaction while
adhering to social distancing regulations and safety practices.
In working with leaders both inside and outside the entertainment
industry, All Access created a mobile and adaptable drive-in screen
system. VersaPlex was created to keep people safe, keep people
connected, and to help communities navigate the new ‘pandemic
normal’. VersaPlex’s turnkey services and innovative screen system
work together to make that happen.
www:allaccessinc.com

48
 TRANSFERABLE SKILLS

TRANSFERABLE SKILLS:
THE FIGHT AGAINST COVID-19
Meet the companies assisting in the fight against COVID-19 – swapping their regular work in the
events sector to focus on the creating and manufacturing frontline solutions for the general public...

Restriction breeds innovation; during the past few months, we at TPi device that inactivates 99.99% of viruses and bacteria and could be used
have heard a number of people utter these words or phrases to a similar on everything from a laptop to a pair of shoes.
effect. Venues close and people turn to livestreaming, festivals get “Signify has been at the forefront of UV technology for many years and
cancelled and people move to drive-in shows. Not only that, more and has a proven track record of developing innovative UV-C technologies and
more crewmembers and live events specialists, due to the lack of work, solutions ,” began Dunphy. “Prior to a few months ago the main purpose of
have turned their hands to other vocations – including many that have the ONCE BioShift chamber was for the agricultural market to cut the risk
been vital during the most stringent lockdown measures. In the past of infecting livestock.” However, in the early days of the pandemic, Dunphy
week or so, TPi has located a number of companies providing frontline recalled watching a news segment where Trinity College in Ireland had
solutions in the fight against COVID-19. been involved in creating a robot that would be able to disinfect a hospital
by roaming around freely with a UVC element to kill the bacteria. “Although
SIGNIFY not approved for medical settings, I gave my colleague in the States a ring
Although probably known more to TPi readers for its work within the to talk about our involvement with UVC products in other segments and if
professional lighting world, Signify has found that its work within another this was something we could explore further.”
area – agriculture, to be exact – has offered an elegant solution for Following a collection of meetings with teams in the Signify
disinfecting equipment. Key Account Manager for ONCE, a Signify brand, organisation, Dunphy had a business plan to get the UVC technology to
Derek Dunphy outlined the finer points of the BioShift chamber – a UVC other UK sectors. “We have been manufacturing and selling our BioShift

49
TRANSFERABLE SKILLS

CEO of AED Group, Glenn Roggeman; Riedel Communication’s DisTag.

chambers to customers since the lockdown was in effect,” stated Dunphy. using UVC light technology in the fight against COVID-19 and other viruses
“One of the major concerns we had heard from customers was the fear and bacteria.
of workers coming into office spaces with laptops and other equipment, CEO of AED Group, Glenn Roggeman, launched the first UVC luminaires
which could not be disinfected by a wipe or a spray. All people have to do under the AED private label Luxibel in April. The system was further
is put any equipment into the chamber with direct exposure to the UVC developed for larger spaces with an audience where air circulation
and, after five minutes, you can confidently say that more than 99.99% of needs to be taken into account. “The main advantage of this system is
common viruses and bacteria has been inactivated.” ensuring that the air breathed out by guests is sucked upwards by the
Inside the chambers, while going through the five-minute disinfecting aerodynamically patented system,” he stated.
cycle, the temperature does elevate slightly (7.8°C on average) during a “Micro-organisms such as bacteria and viruses are neutralised and
five-minute cycle, it is well below the damage threshold, meaning that germ-free air is blown back into the room. Looking at the infection levels
expensive electronics should not experience any temperature damage for COVID-19, I can only join those virologists who confirm that the virus
during a disinfection cycle. can also be spread through the air. When we are able to meet up again in
Dunphy outlined the various areas in which this chamber could enclosed spaces with groups of people, air disinfection will contribute to
be implemented, from warehouses to supermarkets. “My personal reducing infection rates. I personally would also feel more comfortable and
background was in live touring,” he continued. “I’ve been speaking to my secure visiting locations that have this kind of system installed.”
friends and family who are still working in the sector and I believe that the Roggeman emphasised that UVC disinfection can be an important part
BioShift chambers also have their place in touring and live music.” of the multifaceted approach to combat COVID-19 and also hopes for a
To give an example, Dunphy pointed to IEM and microphones as one of new perspective on the severely affected events and entertainment sector.
the potential issues that crewmembers and artists would have to deal with “In addition to the measures relating to social distancing, hand hygiene
when events begin to return. “The people having to handle that gear are and the use of personal protection equipment, I am convinced that
surely going to be responsible for sanitising it,” he stated. “With expensive technological innovations can also contribute to better protection.
equipment, you are not going to be able to use disinfectant wipes, as the “In addition to the Mid-Air Disinfection System, we’ve also developed
moisture may damage it. The BioShift chamber could offer a solution so scanners, which we at AED Studios will use to check the body temperature
after the show, equipment is placed in the box, then packed up with gloves, of every visitor at the start of an event. In this way, we want to provide our
so you know that the items are clean for the next show, or performer.” studios with technology to protect our visitors as much as possible.”

AED GROUP HALO SOLUTIONS

Earlier this month, AED installed Studio 6 with its Luxibel’s Mid-Air The software development company provides event management solutions
Disinfection System at the company’s Lint facility. The installation ensures as well as supporting tech hardware to work alongside the software. The
the disinfection of indoor air by means of UVC ventilation cylinders that company was founded by a former police officer of the counter terrorism
take air circulation into account. This makes AED Studios the first event unit, Lloyd Major. “The idea of the company came off the back of various
location in the world that disinfects the air in a room on a permanent basis events I was involved in as an officer and certain issues I saw occurring.

50
 TRANSFERABLE SKILLS

PURITY • DEPTH
A lot of venues require staff to hand in mobile devices while on shift;
although this means they are not distracted on the job, it limits their TEXTURE • DRAMA
communication to just a walkie talkie.”
The Halo software looks to provide crewmembers with the
ability to disseminate clear information by the use of image capture

REVEAL
functionality and text-based communication alongside traditional
radio communication – in essence, giving a more well-rounded picture
of the event in progress.
Prior to the COVID-19 outbreak, Halo had already gained a great

THE
deal of interest, having been adopted by events including the 2019
Cricket World Cup and The Notting Hill Carnival.
Looking at the state of the events market right now, Major explained
that the Halo platform could also provide the infrastructure to create
a safer environment in terms of the pandemic. “From what I’ve seen,

MAGIC
the ‘socially distant’ shows are somewhat impractical, both in terms
of potential profits that can be made, and that it doesn’t account for
human activity while still in the venue,”
Major cited Live Nation’s Melvin Benn’s open letter – which
proposed more testing of patrons, making it possible to have
confidence that the crowd is not infectious – as an alternative solution
and one which the Halo platform could give.
“Halo is the only incident management platform that has the
ability to scan health passports,” he asserted. “The theory is that as
we’re connected to the passport company, and contain a native ticket
scanner, we can be sure that everyone in the venue is virus free.”
Not only does Halo have the ability to scan health passports, but it S T R A N D L I G H T I N G .C O M
will be able to deal with the great demand of venue cleaning schedules.
As updates on the platform are able to transmit images as well as radio
content – workers will be able to send on photos of the areas that have
been inspected and give venue staff the knowledge that the space is
following more stringent cleaning compliance.

RIEDEL COMMUNICATIONS
Although nobody has a crystal ball, it is more than likely that the
practice of social distancing will exist in certain areas for some time.
Due to this reality, Riedel Communications, has launched the DisTag: an
all-new distance-monitoring device. Worn around the neck or carried in
LEKO
a pocket, DisTag is a reliable and precise instrument that immediately LED PROFILE
alerts its wearer via haptic, visual, and acoustic signals whenever the
mandatory minimum distance to other people is about to be breached.
“After weeks of quarantines and other limitations due to the
pandemic, our society is gradually returning to normal – but it’s a new CODA
type of normal. Slowing the spread of the virus is still a top priority LED CYC
as key industries, organisations, and institutions start to reopen and
people begin returning to work,” said Thomas Riedel, Founder and
CEO, Riedel Communications. “In recent months, we’ve learned as a
community to adapt to new behaviour patterns and situations, and AURORA
a fundamental aspect is for employees, visitors, and customers to LED STRIP
maintain a safe distance between each other. That’s where the new
DisTag device comes into play.”
Featuring a compact and minimalist design, DisTag is ideal for
media and event production, industrial operations, retailers, medical
facilities, public and cultural institutions, and schools and universities.
CANTATA
The device offers three signal levels: a two-stage vibration alarm LED FRESNEL
(haptic), a two-stage LED signal (visual), and a two-stage sound
signal (acoustic). The proximity limits of the warning signals can be
individually defined and adjusted in accordance with local regulations
for social distance.
Jacky Voss, Corporate Business Development Manager at Riedel,
added: “With its small size [93mm by 41mm] and low weight [61g], the
device is compact, comfortable, and hardly even noticeable to users.
DisTag can be used virtually anywhere, whether indoors or out, and its
integrated battery provides enough power for up to 12 hours. And, as it
requires no additional infrastructure, it is easy to expand the system at
any time.”
TPi
Photos: Signify, AED, Riedel Communications and Halo Solutions
www.signify.com
www.aedgroup.com
www.riedel.net
www.halosolutions.com

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MID-THEATRICALS_reveal_A4_half-page.indd 1 5/27/2020 9:43:48 AM


PRODUCTION FUTURES

Harry Boyde
Winner of TPi Breakthrough Talent Awards Production Rookie accolade,
Harry Boyde recounts his journey earning his stripes as stagehand with
Stage Miracles to an accomplished touring technician for ER Productions.

industry in the ’80s and ’90s – his father was a rigger and his mother, a
caterer. “Of course, it’s a lot different nowadays; seeing photos of my dad
50ft in the air with no harness dangling from scaffolding makes my stomach
turn, and, although they probably haven’t told me all of their stories from
that era, hearing the ones they did tell me and seeing how much they
enjoyed that part of their lives made me want to do the same,” he said.
“My parents stopped the touring life to raise me and my brother, who also
works in the music industry, so I hope they feel like that part of their lives is
living on through us.”
Recalling a fascination with laser shows from an early age, Boyde said:
“The first time I can remember being completely blown away by a laser
show was a few years back when Kasabian did a five-night residency at
Brixton Academy. I was there as a stagehand but made it out front for one
of the shows. From that point I knew I had to somehow get into lasers. ER
Productions were the ones who did that gig, so to be working with them
now putting on laser shows myself is brilliant.”
He went on to share the most valuable lesson he has learned so far:
“Always be at least 15 minutes early! That goes for pretty much everything,
especially bus and lobby calls. If you don’t know something never be afraid
to ask. It’s always going to be better than guessing and getting it wrong. I
find people respect you more if you are honest and don’t pretend you know
From a young age, Harry Boyde was fascinated with music and live things that you don’t.”
events. As soon as he turned 18, he moved from Northampton to During his first year with ER Productions, Boyde was sent to Ibiza for
London, to pursue a career in the touring industry. Shortly after the the whole season. He recalled: “I was programming and operating huge
move, he began working as a Stagehand for Stage Miracles before club nights in Ibiza within six months, gaining valuable experience. Other
landing a coveted role of Laser Technician at ER Productions – where technicians who have done the ER Ibiza season have gone on to do great
he is now responsible for the set-up, maintenance, programming, and things, so I was adamant on finishing the season and joining the club of
operation of laser shows, as well as special effects for some of music’s Ibiza seasoned technicians.”
biggest names. Since starting with ER Productions, Boyde has also worked on several
“Working as a stagehand taught me so much about working in live Fatboy Slim shows, including tours of Australia and New Zealand, as well as
events and gave me the experience to understand what I really wanted to the DJ’s in-the-round UK tour last year. “The Fatboy camp are a great bunch
do in my career,” began Boyde. From pushing boxes to operating a laser who have some brilliantly creative ideas that they deserve credit for. I have
show in front of 80,000 people, everything he has learned was a direct also been working with Groove Armada since they came back with their
result of hands-on experience and the knowledge passed down from full band and was reprogramming their show for the Royal Albert Hall for
industry peers. “I believe education is important whichever way you decide Teenage Cancer Trust before lockdown.”
to learn, be that in a classroom environment or on-site. I guess you could Charli XCX was another artist Boyde worked with last year, programming
say that my time as a stagehand was my ‘university’.” shows in New York, LA and London. “I also managed to squeeze in a tour
Boyde pinpointed a range of experiences that he has learned on the of America with K-pop sensation Blackpink and a tour of Italy with one of
job. “From the simple things like how to go down a truck ramp properly their biggest artists, Vasco Rossi – which included six sold-out nights at San
and mastering the Tetris-style truck pack; to the more complicated like Siro in front of 80,000 people. I have also had the opportunity to step up to
networking a laser show with over 100 lasers; making the lasers safe, zoning cover other technicians on The Chemical Brothers and Tame Impala, both
and masking; and tight festival schedules meaning zoning lasers in sunlight, of which were incredible to be part of.”
there are a lot of essential skills involved in the industry that are best Boyde believed a lot of people have their jobs in the music industry
learned by practice.” because they have proved to others that they are hard-working and
As a second-generation roadie, both of his parents worked in the music committed. Not only that, but he was full of praise of the people that had

52
 PRODUCTION FUTURES

helped him along the way. “I wouldn’t be where I am today without all of the to go alongside the range of High End Systems HOG4 consoles available.
crew bosses and stage managers at Stage Miracles, especially Mike Grove “These consoles alongside Pangolin Beyond is a deadly combination
and Rafa Rodriguez.” He also thanked the entire team at ER Productions, in which I am practicing my programming skills. For visualisation, ER
including founders, Marc Webber and Ryan Hagan as well as Operations Productions has started to use Depence2, which is an incredible tool for
Manager Gary Cornman. “All of the senior technicians at ER have taught me pre-programming as the lasers look so realistic. I have been using the time
so much, not just about lasers, and are always there to help,” he stated. to also reprogram some of the tours I have previously been on including
“They are all amazing at what they do, and it has inspired me to learn as Fatboy Slim and Groove Armada so that when these gigs finally happen,
much as I can to become as good as a technician as them.” they’ll be better than ever.”
Earlier this year, Boyde scooped the Production Rookie Award at Five years from now, Boyde hopes to be designing and operating some
Production Futures. “It was a real honour to get the Production Rookie of the world’s largest laser shows. “It’s becoming increasingly popular to
Award at Productions Futures 2019, and it feels great to be recognised have more lasers at our shows. We are working on some exciting new lasers
for the work that I have done,” he added. “My future at ER Productions is and our designs are getting more and more interesting and complex,” he
looking exciting and I aim to build my career with them as the company explained. “Lasers are becoming more diverse and can be incorporated
expands and grows. The award has only furthered my ambition to achieve into any kind of music or show. I believe that more LDs and show designers
in this industry I enjoy working in so much.” will choose to have lasers in their shows in the future.” He signalled ER
A week before the official lockdown of live events in the UK, Boyde was Productions’ recent expansion of its special effects and pyro department.
in Melbourne, Australia for a Robbie Williams show at the Australian Grand “This means we can give clients a full special effects package, from an
Prix. “We were on-site getting ready to load in when the show along with incredible laser show to covering the crowd in confetti or smoke-filled
the F1 was cancelled. It was a very long way to go for a show that didn’t bubbles.”
happen,” he recalled. “I had a feeling that this was the start of things to TPi
come so I got on the next available flight home.” Photos: Production Futures & ER Productions
During his downtime, Boyde been lucky enough to be able to take home www.productionfutures.co.uk
an MA Lighting grandMA3, thanks to a recent investment by ER Productions www.er-productions.com

53
INTERVIEW

GAME.AE’S ISAAC KUMER

Notwithstanding a global pandemic, the Mondiale Media team enlist Game.ae to devise the first
ever virtual TPMEA Awards ceremony – broadcast to over 600 event professionals and viewers – live
from lockdown. TPi’s Jacob Waite speaks to Creative Director, Isaac Kumer to find out more…

Since its inception in 2018, the TPMEA Awards, typically held in Dubai, with the Creative Director to reflect on the feat. “The Middle East’s live
has celebrated the amazing projects and the individuals responsible events sector has developed exponentially over the years.” He began.
for the flourishing Middle East events market. Following two successful “Dubai is often characterised as the go-to events capital of the world. With
renditions of the awards, this year’s plans came to an abrupt halt due highly talented and skilled professionals within the region as well as the
to the unforeseen arrival of COVID-19. The solution was equal parts imagination, creativity and strong budgets to support these initiatives, it’s
daunting and exciting: the birth of the first-ever virtual TPMEA Awards no wonder why. Consequently, the UAE has attracted some of the world’s
ceremony, produced by GAME Commercial Photography Production LLC biggest names in the live events industry over the past decade.”
(Game.ae) – the Dubai based multimedia, full-service production house Following the adverse effects of COVID-19, resulting in the widespread
that successfully supported the events industry and some of the most lockdown of live events spaces across the Middle East, Kumer was happy
prestigious projects and creative content throughout the region over the to allocate his company’s resources to create the first-ever virtual TPMEA
past 10 years. Awards. “It’s a tragedy to see how the live event industry has suffered
On the evening of the TPMEA Awards, over 600 event professionals and during the ongoing COVID-19 crisis,” he reported. “We have all endured an
viewers tuned in to watch the virtual ceremony on 21 April 2020, which unbelievably difficult time, so I was happy to get the call to produce the first
was broadcast live on the TPMEA Awards website and Facebook page. A ever virtual TPMEA Awards ceremony.”
familiar face to TPMEA Awards faithful, Stuee Kennedy reassumed the role Kennedy contacted Kumer several weeks before the date to arrange
of compère extraordinaire, hosting the one-of-a-kind celebrations with a a meeting of minds with the visionary behind the operation, Mondiale
special preshow segment from Event Industry Night Out’s (EINO) Stefan Media CEO, Justin Gawne. Kumer then called upon the expertise of James
Wieland. Harnessing their technical capabilities to make a livestreamed Glanville to design a set based on two parts. “The core design for the
awards ceremony a possibility was Game’s Isaac Kumer. TPi sat down virtual event came from Glanville, who then passed the project on to our

54
 GAME.AE’S ISAAC KUMER

Opposite: Game.ae’s Isaac Kumer.

animation team at Game, where we polished the backdrops, turned on the at the World Government Summit in Dubai. “That project turned out really
lights and laid the carpet.” well,” he reminisced. “Consequently, when we start to think about events in
Having shared glimpses with the TPMEA team, Kumer was given a virtual space and combined with other technologies, it opens the doors
creative control. He reflected: “We invited Kennedy to our studios; with to innovative and unique results.”
‘hair’, makeup and wardrobe complete – we loaded the script into the He said the team at Game were now actively looking to implement
teleprompter and got to work. Time was not on our side, so we had to move live “virtual” events into its growing portfolio of expertise and services
swiftly while managing many moving parts to deliver as promised and on available to prospective clients. “In a short period of time, we have stepped
time.” The bottom line: “The deadline is the ultimate inspiration.” up our ‘Game’ to begin producing these,” he stated. “The good news is that
According to Kumer, the entire process was “fairly straight forward” despite the global pandemic, we still require event specialists to produce
and followed the basic narrative of putting together an event despite these shows. Simply put, Directors, Set Designers, Lighting Designers,
factoring extra considerations once the virtual set was designed. “The most Audio Engineers, Videographers, Presenters, to name but a few, are all
important aspect is pairing the lighting used in the virtual set to match the essential to create successful and compelling virtual events.”
lighting on the subject in Game’s green-screen studios,” he said, adding Looking toward the future of innovation, Kumer believed that virtual
that “there are a few tricks when it comes to merging virtual with reality”. spaces have become a great solution for event curators to continue
Next up was manually working out camera positions in the virtual set to bringing people together safely. He said: “It was a proud moment for Game
match the angles from the shoot. “There are some existing and emerging to see so many people logging in to watch the award ceremony and have
technologies that allow you to map your camera the ability to comment during the proceedings.
movements and positions when filming so that After all, these kinds of events are about
data can be fed into the media server and then networking and seeing your industry colleagues
render those same angles and movements in the and celebrating the collective achievements of
virtual set.” The rest, he said was compositing, the region.”
audio sweetening and colour grading. Kumer and the Game team are embracing
In comparison to recent projects, Kumer new ways to develop the company’s growing
dubbed the undertaking as “interesting”, with
“It’s a tragedy to see how portfolio of services, particularly when it comes to
imagination and time as the key factors at play. the live events industry has interactive content. “At Game, we are streamlining
“We regularly provide live-feed, hi-lite film, the virtual event production process, making
photography coverage and content creation for
suffered during the ongoing it more visually appealing and discovering new
various events – so in that respect we were still COVID-19 crisis. We have all ways to engage the audience.” He concluded,
behind the camera. However, with this medium, “The industry is moving very fast and we are
we had a completely new palette to work from
endured an unbelievably incorporating existing and new technologies
where the only limitation is your imagination and, difficult time, so I was happy that will ultimately allow delegates to attend
of course, time.” events and exhibitions as avatars in a 360 VR
Kumer and his team recently worked alongside
to get the call to produce environment.
SNAP.ae and AHRT MEDIA to produce a 45-minute the first ever virtual TPMEA TPi
holographic presentation of Dubai’s Crown Prince, Photos: Game.ae
Sheikh Hamdan bin Mohammed bin Rashid Al
Awards ceremony.” www.game.ae
Maktoum, where he virtually presented his notes Isaac Kumer, Creative Director www.tpmeaawards.com

55
FUTURE INSIGHTS

FUTURE INSIGHTS
The latest product releases and announcements.

ANALOG WAY
The Midra 4K series presentation switchers feature 10 inputs, including
eight 4K60 inputs (four HDMI 2.0, two 12G-SDI and two DisplayPort 1.2)
and two 1080p inputs with user-selectable HDMI and SDI connectors.
As well as 4K60 10-bit 4:4:4 image processing, genlock synchronisation,
uncompromising video quality, seamless switching, HDR support and
HDCP 2.2 compatibility. They come standard with the ability to easily de-
embed or embed digital audio on all the inputs and outputs. An option is
also available to add support for Dante audio networking.
The Midra 4K presentation switchers are designed to be entirely
operated from the easy-to-use front panel keyboard and graphic display.
Ease of setup and flawless control of the presentations are ensured
by the unmatched, on-board intuitive Web RCS, an HTML5-based user
interface with live source thumbnails.
www.analogway.com

ADJ
Entour Chill is a compact yet powerful low-fogger. The newly developed
800W heater system allows for continuous output for up to an hour, while
sophisticated new electronic temperature control lets the machine heat
up in just three minutes. It features a 16-character LCD display screen that
presents a menu-driven interface for configuration of the unit’s control and
other operating parameters.
The menu can be used to trigger continuous operation as well as to
setup timed output or address the unit for DMX control. Three-pin DMX
input and output sockets are located on the rear of the unit, which can
be used to connect it to an existing DMX system to allow the effect to be
triggered by a lighting board or software control system. Alternatively, the
unit is also supplied with an ADJ FFFTR MKII wired remote control.
With measurements of 420mm x 297mm x 273mm, it is conveniently
compact, while a weight of 7.8kg makes it easy to carry using the integrated
handle. Power is connected to the unit via a locking socket on the rear
panel, which is protected by an integrated NFB breaker and fed through an
on/off power switch.
www.adj.com

56
 FUTURE INSIGHTS

AYRTON
Karif-LT is equipped with a 168mm frontal lens offering a zoom ratio of
17:1 and an incredible 2.8° to 47° zoom range, the narrowness of which is
unprecedented and unmatched in an LED fixture. A new high-efficiency,
low-etendue, compact LED module delivers an ultra-intense beam
which, calibrated at 8500K, can generate powerful metallic white light
and deep, vivid colours. Karif-LT has an overall output of 13,000 lumens
at a colour temperature of 7500K, and a centre-beam luminous intensity
of 3,500,000 candelas.
Karif-LT feature set includes a CMY colour mixing system, a patent
pending multi-position CTO wheel with seven different colour correction
filters, a wheel of 13 complementary colours for infinite pastel hues
and saturated colours, nine interchangeable rotating HD glass gobos
and a new innovation in the form of a wheel with 39 fixed gobos (patent
pending). Karif-LT also has a glass monochrome multi-position, bi-
directional effects wheel, and a prism effect system comprising four
combinable rotating prisms which, coupled with an ultra-intense beam,
can achieve amazingly complex effects. Standard features also include
light and heavy frost filters, a dynamic animation effect with speed and
fade adjustment and an electronic dimmer for perfect fades.
www.ayrton.eu

BISHOP SOUND
BishopSound’s brand new compact 18mm Birch Plywood 1,000W RMS
active Delta Dual BD212AS twin 12in subwoofer features active onboard
digital amplification delivering 1000W RMS down to 30Hz and with a
maximum SPL of 131dB. The Delta Dual twin 12-inch features a Neutrik
Powercon IN/OUT power feed. Two potentiometers on the rear panel
control the volume and low pass filter while Channel A and Channel B can
be fed by XLR or 1/4-inch jack combi socket and a link out allow users to
feed the original signal to multiple active subwoofers or mid/top range
active cabinets.
Other features include a 1.2mm thick powder coated grille, rubber
insulation feet, a 20mm screw-in inverted telescopic pole mount, a
countersunk extra thick “ding proof” grille to prevent grille damage when on
tour and the use of acoustic foam behind the grille to prevent moisture and
dust ingression. Completing the Delta dual 12’s professional specifications,
the 18mm birch ply housing is treated to four coats of textured, tough
acrylic PU polymer paint and comes with chunky, tactile steel handles.
www.bishopsound.co.uk

CHAINMASTER
The new D8plus Ultra 500kg features a safety factor of 8:1 and a 5.4x15 mm
sectional steel chain, which is driven by a specially manufactured chain
wheel. The motor has a low power requirement of only 0.4kW. In addition,
the level of standard protection has been increased to IP55, with an
optional IP66 version available for brand-new units. The models covering
the range of 250-1,000kg load can be operated using ChainMaster standard
controllers from the CM-801, CM-802 and CM-820 series. In addition,
special equipment such as contactor control, limit switches, distance
measurement and load detection are available so the chain hoists can be
configured for specific projects. The Ultra Series is therefore suitable for
plug and play integration into existing complex control systems such as
D8plus StageOperator CM-850 and Protouch StageOperator CM-880.
www.chaimaster.de

57
FUTURE INSIGHTS

CHAUVET PROFESSIONAL
The new Maverick Silens 2 Profile is a 560W profile unit, which features
CMY+CTO colour mixing with CRI, R9, CQS, and TLCI all between 91 and 97.
Other features that speak volumes about this silent powerhouse of a fixture
include a four-blade framing shutter system with rotation, a colour wheel,
animation wheel, a 10:1 zoom, prism, two frosts, static and rotating gobo
wheels, and 16-bit dimming with selectable red shift.
The Maverick Silens 2 Profile features a doughnut-shaped ring of white
LEDs with an RGB LED in the centre for toning (+/- green for on-camera use)
and red-shift in dimming. Offering an impressive level of colour rendering
versatility, the fixture can create rich saturates, while also producing subtle
pastels. Combining high CRI LEDs with precision optics, the Maverick
Silens 2 Profile has an output of over 11,000 lumens. With an optimal throw
distance between 30 to 50ft, the fixture is right at home in a variety of
studio and stage applications.
www.chauvetprofessional.com

CLEAR-COM
Eclipse HX digital matrix intercom’s latest software update strengthens its
position as a flexible and dynamic all-IP intercom solution. It is a highly
scalable, extensible and programmable platform for enabling non-
blocking, bi-directional communication for small to large collaborative
work teams. Clear-Com Eclipse HX version 12 supports SMPTE 2110-30 and
AES67 third-party interoperability and now works together with the Clear-
Com FreeSpeak Edge, the latest addition to the FreeSpeak product family.
www.clearcom.com

CHRISTIE
The Griffyn 4K32-RGB is Christie’s first projector to offer new digital
convergence giving users the ability to select Red, Green, or Blue individually
and adjust each colour by remote control, for easy picture-perfect image
alignment that saves time and money. Griffyn 4K32-RGB produces an
exceptionally wide colour gamut, achieving greater than 96% of the Rec.
2020 colour space – more than twice the colour of Rec. 709 and 50% more
than DCI-P3-capable projectors – for a richer, more memorable audience
experience. It also features optional high frame rate (HFR) capability to
achieve 120Hz at 4K resolution or up to 480Hz with HD resolution for lifelike
images.
www.christiedigital.com

DYNACORD
The MXE5 is the first member of the MXE matrix mix engine series.
The 24 by 24 crosspoint performance audio matrix offers both routing
and mixing functionalities, with 12 analog mic/line inputs, eight line
outputs and 24 Dante audio channels. At the same time, the MXE5 serves
as a communications hub for all IP-based peripherals and provides
comprehensive supervision of all system-wide commands. Onboard are
24 channels of professional input and output processing features, such as
zone mixing, dynamic EQ, delay, compression, limiting, ducking, de-essing
and more. Future additions will include free DSP configuration, auto mixing,
a task engine, Acoustic Echo Cancellation (AEC), Automatic Gain Control
(AGC) and Ambient Noise Control (ANC). The optional TPC-1 touch panel
controller has a low-profile form factor and features a 5.7-inch HD display.
With the universal mounting socket (EU, UK, US) and Power over Ethernet
(PoE), it can be easily mounted and installed. The TPC-1 is controlled and
freely configurable via SONICUE.
www.dynacord.com

58
 FUTURE INSIGHTS

ETC
At only 5.5 kg, ColorSource Spot jr is nearly half the weight of a full-sized
ColorSource Spot fixture. Spot jr is available in two array options: Original
for subtle pastels and beautiful white light to enhance skin tones; and Deep
Blue for more saturated, dramatic colours. Spot jr has built-in 25 to 50°
zoom. ETC offers an impressive five-year warranty on the entire fixture, and
a 10-year warranty on the LED array. With over 5,700 lumens of brightness,
ColorSource Spot jr gives you more of what you love at a fraction of the cost
and a fraction of the size.
www.etcconnect.com

FIX8GROUP
Built on Microsoft’s Azure cloud platform, OctoCue allows remote
presenters to use any web-enabled device to control their slides and
view real-time slide notes simultaneously. Show operators can monitor
presenters, preview their clicks, and switch slide control between them,
as required. OctoCue interfaces directly with presentation tools such
as PowerPoint, providing redundancy by controlling multiple machines
running the same presentation. It encrypts all data, ensuring protection
of potentially sensitive information. OctoCue is compatible with existing
handheld show controllers. Native Apple and Android Apps, plus a host of
other features, are in development to further ease setup and use.
It is available on a free trial basis or via paid subscription.
www.octocue.com

JBL PROFESSIONAL
Harman has unveiled the JBL Professional BRX300 Series of modular line
array systems for small to mid-size applications for customers in the APAC,
China and India markets. The BRX308-LA Line Array Element features
dual 8-inch LF drivers and a 3in titanium compression driver, providing
full-spectrum coverage, 136dB output and 110° horizontal dispersion, with
variable interbox angles for fine-tuning vertical coverage. The BRX325SP
dual 15-inch Powered Subwoofer extends low-frequency energy to 32Hz,
with built-in 1,000W, six channel amplification providing 136dB output and
powering up to four BRX308-LA Line Array Elements; internal DSP handles
EQ, filters, driver-protection circuitry and crossover management. Built-in
casters simplify transport.
The BRX308-ACC Transport Kit provides a self-contained transport
system for four BRX308-LA Line Array Elements and includes padded
covers for the cart, BRX3255 Powered Subwoofer and required speaker
cables. The BRX308-AF Array Frame supports one BRX325SP Powered
Subwoofer or up to eight BRX308-LA Line Array Elements in flown
configuration, and is tested for a safety factor of 4:1, while the BRX308-
PM Pole Mount and Adapter Kit mounts up to two BRX308-LA Line Array
Elements, expanding system configuration options. The BRX300 Series’
rugged, tour-tested cabinet designs feature all-wood construction with a
Duraflex coating that protects against wear and tear.
www.jblpro.com
www.harman.com

59
FUTURE INSIGHTS

NEUTRIK
The speakON XX is the first Neutrik speakON chassis line to come to market
compliant with the new IEC 62368-1 materials safety regulation, requiring
any materials used in potential ignition sources to have a V-O vertical burn
classification. The NL4FC speakON cable connectors are fully compatible
with the new XX-receptacle series, including improved electrical
performance due to special copper alloy contacts and tarnish resistant
plating, an all-black colour scheme and enhanced hi-visibility logo’ing and
product ID marking. The entire family of two, four and eight-pole cable
connectors has been designed to operate in high current, inductive load
environment of loudspeakers.
www.neutrik.com

ROBERT JULIAT
Robert Juliat has developed a new LED compartment which will enable
customers to upgrade current traditional profile installations to LED by
simply swapping the tungsten lamp base on its existing RJ 600SX Series for
the new T650SX LED module. Sully RJ 650SX profile series delivers a first-
class white light and an output comparable to a 1,000W tungsten luminaire.
A cool white LED version is also available that is perfect for times when
‘daylight’ rendering is required. Sully 650SX offers three zoom options (28°
to 54°, 16° to 35° and 11° to 26°) and is equally happy on stage, overhead, on
side booms or prosceniums, in opera houses, theatres and studios. Sully
305LF and Sully 305LPB luminaires combine the high-quality 115W white
LED source with either a single 150 mm / 6in Fresnel or a Pebble Convex
lens, both of which can be easily interchanged.
With uniform light, a very wide beam and premium colour rendering,
Sully 305LF Fresnel and Sully 305LPB Pebble will easily substitute 1,000W
tungsten models. Sully 1156 is the perfect introduction to Robert Juliat
LED followspots for discerning schools, amateur dramatics and smaller
venues. Its optical excellence, ultra-compact dimensions and low power
consumption make it a reliable and easy-to-use luminaire.
www.robertjuliat.com

ROLAND
VC-100UHD allows users to input 4K and 1080p video sources and distribute
them to multiple destinations at one time, including 4K LED walls, HD
displays, and USB 3.0 livestreams. It combines multiple single-task
technologies in a compact and flexible half-rack design. The VC-100UHD’s
Ultra Scaler provides conversion for synchronised big-screen IMAG and
precise dot-by-dot scaling for LED wall displays. Thanks to Ultra Scaler
technology, system designers can simultaneously deliver 1080p video
at rates up to 240Hz for a gaming monitor, 59.94/50 Hz for an HD video
system and LED displays, and 59.94/50 Hz for an HD livestream broadcast.
VC-100UHD also includes built-in visual effects, allowing users to rotate,
flip, trim, and mirror images on each output. And with Frame Synchronizer
and Genlock features, video images can be re-clocked and stabilised as
needed.
Along with video, VC-100UHD can process embedded digital audio
from its 12G-SDI and HDMI 2.0 inputs. Analog I/O is provided as well, with
balanced audio on a 25-pin D-sub connector for installations and line-level
stereo audio on RCA jacks for prosumer video gear. The advanced audio
patching system lets users’ route and embed/de-embed up to 16 input
channels and output up to eight channels. An adjustable delay is also
provided on each output to correct lip sync issues.
www.proav.roland.com

60
SAGITTER

The special LED sources of the Blok are equipped with tuneable white,
cutting-edge technology currently among the most requested in the
entertainment sector. This new command, called red-shift, not only offers
the most realistic simulation of the colour temperature change of the
luminous flux from 1,700K to 3,000K, but also a digital control up to 16 BIT
of the ramp up and down, a feature that allows Blok2 TW to compete with
the market. A robust body made entirely of black aluminium guarantees
the Blok protection from atmospheric agents up to IP65 classification; in
addition, a special dedicated hardware allows you to assemble multiple
projectors in a real “array” and allows the user to compose numerous
scenographic variations.
www.sagitter.com

WAVES
Waves FIT has been co-engineered by Waves Audio and MIDIPLUS to offer
live sound engineers quick and efficient operation and intuitive tactile
control of software mixer software. FIT is designed to function as a fully
integrated 16-fader bank with the LV1 mixer. This is made possible with 16 +
1 motorised 100mm faders, each featuring Mute, Solo and Select buttons,
a multi-function rotary control and a bright display for each channel. Fader
banks are controlled using eight dedicated layer switches for toggling
between the eight factory or custom layers in the Waves eMotion LV1 Live
Mixer. The channel rotary controls can be set to adjust preamp gain or pan
per channel with the corresponding function label shown in the display.
In addition, the 16 Select channel toggles can be set to “USER” mode to
provide easy access to Mute Groups and user-assignable keys.
www.waves.com

SPHERELABS
Standing 2m tall, the PZ Sphere’s frame is seamlessly covered with a
tessellated arrangement of bespoke LED panels at a high-resolution 3mm
pixel pitch. It has been designed by SphereLabs, which is a new-to-market
collaboration between Light Initiative’s Bryn Williams, and Dave Stevens
and Steffan Jones of production and design company, Production Zync.
The company believes the product has the potential to add a new ‘wow
factor’ to a wide range of entertainment environments, and will appeal
to a wide range of customers, including production companies, agencies,
record labels, producers, production houses, directors and designers. In
addition, it has the potential to increase visibility and engagement with
displays in settings such as airports and attractions, while with added
interactivity, it can also as a unique touchpoint 360˚ information resource
for information or navigation in venues such as shopping centres.
www.sphere-labs.com

XILINX
The new Alveo U30 card addresses the need for high-density video
processing in a low-profile form factor accelerator card. The Alveo U30
card is powered by the Zynq UltraScale+ MPSoC, a power-optimised
all-programmable system-on-chip (SoC) with integrated video codec and
graphics engines for ultra-high-definition video. The U30 card supports
both the H.264 and HEVC (H.265) codecs and can stream up to sixteen
1080p30 channels per card. The Ultra-Low Bitrate Optimised Video
Appliance is purpose-built for high-quality live video while reducing
bandwidth costs. It contains up to eight Alveo U50 accelerator cards.
Built on Xilinx UltraScale+ architecture and packaged in an efficient 75W,
low-profile form factor, the Alveo U50 card includes 8GB HBM2, 100GbE
networking and a PCI Express 4.0 interconnect. It can stream up to seven
full-HD 1080p60 channels along with eight full ABR ladders all at x265
medium preset.
www.xilinx.com

61
GEAR HEADS

ADAMSON SYSTEMS
CS-SERIES

Ahead of the launch of the CS-Series, TPi’s Stew Hume catches up with Adamson Systems Head of
Product and Technology, Brian Fraser, to discuss the company's latest generation of speakers.

Over a decade in the making, Adamson Systems’ latest CS-Series was set S-Series. “We’re expecting that this option will be very popular with existing
to be finally unveiled at this year’s InfoComm in Las Vegas. Alas, with the customers,” enthused Fraser.
global pandemic having put paid to that idea, TPi found ourselves on a “There are thousands of S-Series boxes out across the market, which
Zoom call with Adamson’s Brian Fraser to talk about the development of can now be converted. The process of converting an S to a CS-Series is very
the new system and what it means for both returning and new customers simple. It’s literally removing four screws, removing the existing jack plate,
before being launched at the trade show’s virtual edition this year. snipping the lead wire and inserting the new plate.”
“The history of this platform really goes back at least a decade,” In terms of specific elements, the CS-Series is made up of: the ultra-
began Fraser. Put simply, the CS-Series is the natural successor to the compact CS7 two-way, full-range array enclosure; CS7p point-source
company’s existing S-Series of loudspeakers. The CS-Series brings the enclosure; and companion CS118 subwoofer, along with the sub-compact
heralded performance of Adamson’s sub-compact S-Series loudspeakers CS10 two-way, full-range array enclosure; CS10n narrow-dispersion array
into the ‘networked future’, with onboard amplification and DSP, plus enclosure; CS10p point-source cabinet; and companion CS119 subwoofer.
Milan-ready AVB connectivity. Rounding out the series are a suite of CS Also included are four rack-mounted products designed to provide the
rack-mounted systems and a dedicated CS software solution. The new necessary tools to get the highest level of performance from the boxes. The
line will be available as a standalone product or as an upgrade to existing CS Gateway is a 16 by 16 matrix with 16 channels of DSP, containing dual-

62
 ADAMSON SYSTEMS CS-SERIES

Adamson Systems Head of Product and Technology, Brian Fraser.

LAN, Milan-ready AVB, AES/EBU, and analogue connections.

The NDS is a network and analogue patch bay that allows users
to send redundant audio and control to CS loudspeakers on a
single network cable.
The PDS ensures that all CS-Series systems receive ample
power, regardless of region, and also allows the user to monitor
consumption data, both per power output as well as overall
draw. The CS Bridge is designed to replace existing network
infrastructure in Adamson's E-Rack, allowing users to integrate
the CS-Series seamlessly into their existing inventories by
converting dual-LAN, Milan-ready AVB signal to AES/EBU, while
also offering six channels of DSP per unit.
Fraser continued to outline Adamson’s decision to
concentrate so heavily on the AVB networking. “It really began
about a decade ago alongside the initial development of the
CS-Series,” he explained. “Credit has to go to Brock Adamson,
who pushed for our move over to AVB. As a team and looking
over all of the audio-over-ethernet protocols, AVB was the clear
winner. It’s been great for us and we’re seeing customers are
more and more receptive to the idea as well.”
It might seem like a practically challenging time in which
to launch a whole new range of speakers. However, according
to Fraser, due to the timing of the global lockdown, Adamson
had already managed to do a lot of the beta testing in the field
test as well as get the new systems in front of customers before
the global lockdown. “The first piece of the range – the CS7P

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ADAMSON SYSTEMS CS-SERIES

– actually came to market almost two years ago at this point. As for the doors for Adamson. “Certain markets we feel the CS-Series would find a
rest of the range, a number of people have already got to hear it and the home would be the musical theatre touring market as well has helping us
feedback has been very positive,” he said to widen our corporate impact,” he said.
One such industry expert who got to hear the system prior to lockdown “The Adamson S-Series is a proven staple of the international
was veteran system designer and FOH Engineer, installation and mobile markets,” contributed
Patrick Demoustier – Simple Minds, Night of the Adamson CEO Marc Bertrand in closing.
Proms, Rock Werchter – who commented: “The CS- “CS-Series loudspeakers, software, and
Series is already the future of networked audio. The rack-mount products build on a legacy and
CS7p offers an incredible power- and headroom- “CS-Series loudspeakers, bring Adamson’s consistency, innovation, and
to-size ratio and the proven sound quality of software, and rack-mount performance to a powered, intelligent loudspeaker
Adamson’s line array systems. We’ve used it platform that is built for – and will help to usher in –
with great success on many corporate events, products build on a legacy the future of professional audio.”
fashion shows and car shows and as front fills and and bring Adamson’s Having been officially presented to the market
delays with larger systems; meanwhile, the CS7 is – virtually, at InfoComm 202 Connected – the
probably the most powerful ultra-compact array consistency, innovation, and Adamson team is preparing for the next phase of
enclosure out there. When I first used it, I was sure performance to a powered, the launch. “Although it is a trying time, launching
that the limiter settings weren’t correct – so much a product now means that you have a captive
power and body from such a compact speaker intelligent loudspeaker audience, which we are hoping will work in our
without even being close to the limiter threshold. platform that is built for – favour,” concluded Frasier with a smile, explaining
But I was wrong…” how the entire Adamson team will be continuing to
Although, as Fraser commented, the CS- and will help to usher in – the send out more relevant information to those who
Series is very much the evolution of the S-Series future of professional audio.” are interested.
and therefore could find a place in the market TPi
anywhere in which you find S-Series speaker, he Marc Bertrand Photos: Adamson Systems
believes the new range could open some new Adamson Chief Executive Officer www.adamsonsystems.com

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Coming Soon…

www.productionfutures.co.uk
PSA: THE BIGGER PICTURE

A ROADMAP TO NOWHERE
Following the success of the #LetTheMusicPlay campaign, PSA’s Andy Lenthall implores the UK
Government to respond to the urgent situation the live events industry finds itself in the wake
of the COVID-19 pandemic.

I’m having a party, here’s a map, see you there. That’s what people into outdoor event or standing/seated venue guidance will be fun to watch.
seemed to see when Culture Secretary Oliver Dowden’s cultural return
roadmap solution dropped at midnight recently with no fixed date. He BRING THE NOISE
must have been quite pleased because we were already at stage two What isn’t fun to watch is the responses rolling in to impact assessments;
out of five; I get the same feeling when I start my to do list with ‘write when you see a supply chain that has, in the majority, four months of
to do list’; task one complete, time for a well-deserved brew. Cue the liquidity left and a workforce that is reliant on grant aid that will perhaps
Music Venues Trust’s stunningly simple, cuttingly on-point suggestion end long before a return to work. It’s the same across the whole events
which was something along the lines of supporting the sector until we’re sector.
allowed to get back in full then get out of the way, let us do what we’re One thing we all know by now is that live events will be the last sector
good at and reap the cultural and economic advantages. that is fully allowed back to work. We say fully because, within our sector,
OK, let’s move to current actions. Sure, the road map might have been a the different strands will be back to fighting weight at different times.
shoddy attempt at appeasement, not so good after his dream dinner party Every weekend is another outdoor show that won’t happen until next
list of people he’s met once became a Cultural Renewal Task Force, but year, every travel restriction is an overseas artist that won’t be hopping
work has continued apace to develop guidance on how to actually return to on an aeroplane and every company that doesn’t want to be seen to be
live events. By the time we get to read this, the ‘Performing Arts’ guidance threatening another wave of infections is a cancelled corporate event.
may have been given the green light so we can see just what will be We’re in the business of gathering people together. At the time of writing,
required to actually get a performance on a stage. How that segues neatly live music is about to launch a coordinated, collaborative campaign that

66
 PSA: THE BIGGER PICTURE

will once again supply evidence from member research that will inform think rock festival versus family oriented classical event. The entertainment
direct briefings with MPs along with a planned program of intensive sector of live events will need to balance the need for a return with the
lobbying and press activity. By now, an open letter will have been delivered need for a market that will sustain that return.
to the Culture Secretary, signed by artists, crew and suppliers – over 3,500 Business events may well have an extra consideration, namely the
of you in the end. It’s the start of the #LetTheMusicPlay campaign, not just appetite for businesses to be associated with gathering delegates together.
a hashtag and profile picture frame, it’s and industry led, artist supported, There is, perhaps, a difference between buying a ticket for entertainment
public and Parliament facing, coordinated campaign built around three key and feeling obliged to attend a conference for work reasons. In all
requests: eventualities, the final assessment on whether any event goes ahead will be
down to the market. Outdoors, indoors, young, old, vulnerable, business,
1. A clear conditional timeline for reopening venues without leisure, local, national, international; knowing when ‘events’ will perhaps be
social distancing. allowed, having that dated road map will only be part of the picture. A date
2. An immediate comprehensive business and employment that triggers permission will not trigger an instant return to all manner of
support package* and access to finance. events, the powers that be are being versed in the planning involved, that
3. Full VAT exemption on ticket sales. you can’t simply throw open the doors of an arena and have Taylor Swift on
stage. Simply put, people are being careful what they ask for.
To expand, the business and employment support package should include Not everyone is desperate to get back to work either, they realise that
a Government-backed insurance scheme to allow shows to go ahead; an the risks posed by gathering people together mean that the risk of being
extension of the furlough scheme and help for the self-employed and sole blamed for a rise in infection rates is greater. People are poised to blame
traders to prevent mass redundancies; rent breaks for venues to allow them protests or packed beaches for the spike they’re expecting, others are
to reopen; an extension of business rate relief to the entire live music supply poised to question why we can’t put on outdoor shows when the spike
chain to protect our ecosystem, large single event premises license fees for doesn’t materialise.
festivals to be rolled over to 2021 and financial support for lost box office Slowly, carefully, step by step; recognised, funded and supported for a
income to support reopening and recovery, which would also support financially sustainable return to activity.
performers, songwriters, composers and their representatives. Sustainable, perhaps not just financial, there have been a good few
With £1.7bn of retail, leisure and hospitality grant funds still sitting in conversations about the nature of return, about the opportunities that we
local authority coffers and 50% of supply chain companies being turned have to reset and consider our impacts on the environment and the health
down for grant aid and rates relief, perhaps there’s a source that can get the of those involved in live production. Industry sustainability group, Julie’s
ball rolling now the original target market is reopening. Bicycle has already written to the Culture Secretary, asking for a green
But it really is a balancing act; the need to get back to work is tempered and just cultural recovery to be prioritised; in a call with members of the
by market confidence. When will audiences be confident enough to return? Association of Festival Organisers, their members were encouraged to take
Research suggests that outdoors is where people feel more confident, this extra time to create sustainability plans for their events, perhaps this
but their mode of transport to any site would be less likely to be public will be one of the positives that we can develop from a time of crisis.
transport. Out of town rather than city centre then? Different audience TPi
types pose different levels of risk requiring adjustments in management; www.psa.org.uk

67
INDUSTRY APPOINTMENTS
Sponsored by
www.interfacio.com • +44 208 986 5002

INDUSTRY APPOINTMENTS

QTECH LIVE’s Jesper Sirenius and Arnold Lindberg; Altman Lighting’s Matthew Klasmeier; Audio-Technica U.S’ Product Manager Gary Dixon and Executive Director of
Product Management Kurt Van Scoy; Ayrton appoints Wholestage as its exclusive distributor for Colombia, Panama and the Caribbean Islands.

Created to meet the surge in demand for livestreaming services resulting warranty service, support and repair. “We are very excited to have Matthew
from the COVID-19 pandemic, Swedish production company, QTECH, has joining our team as he will serve as an integral part of the launch and
launched a new streaming division, QTECH LIVE, with help from an Allen support of many new Altman technologies,” said Pete Borchetta, Vice
& Heath dLive mixing system. “The dLive has been the perfect tool for our President Altman Lighting Product Innovation. “His expertise within
livestream setup,” said QTECH’s Head of Sound, Jesper Sirenius. “With new the lighting industry is undeniable and he will be a valuable asset in
bands and shows every day, the switching between different setups is as the development and customer service behind our entertainment and
easy as it gets. The drag and drop feature of the channels on the surface is architectural lighting solutions.”
one of the things that has made it super easy and quick to get the setup of The Arena Group has merged its UK & Europe and Middle East and Asia
the day up and running within a minute.” Divisions to form Arena EMEA. Under this new structure, the MEA Division’s
QTECH LIVE is expanding fast, streaming talk shows and sports events reputation for innovation and delivery of design led solutions, offering
as well as live shows by artists including Troublemakers, Attentat and temporary architecture with a permanent feel, will be introduced into
Jävlaranamma, plus launch parties and interviews with bands such as the UK. This will allow the business to focus on the core of its competitive
Gathering of Kings and Amaranthe. advantage and deliver a consistent offering globally with a ‘joined-up’
In a move to bolster the strength of its Product Development and approach to innovation, expertise, and knowledge.
Support team, Altman Lighting has appointed Matthew Klasmeier as Sadly, as a result of this merger, the company has lost the services of
Product Development Support Engineer. Working within the new Altman Chris Morris, CEO of the UK and Europe and Andrew Lawson, the Head
headquarters in Denver, Colorado, Klasmeier will be responsible for of the UK Structures and Ice business. Both Morris and Lawson will work
overseeing current and future product development, as well as in-house with the new head of the EMEA, Paul Berger and Tom Evans, the new Head

68
www.interfacio.com • +44 208 986 5002 INDUSTRY APPOINTMENTS

Cast Swiss Light Consulting and Verlinde join forces in Switzerland; ETC’s Regional Sales Manager, Konstantinos Vonofakidis.

of Structures and Ice, EMEA, to ensure a smooth transition from a

customer and employee perspective.
Paul Berger, the current CEO of Arena Middle East and Asia, has
been appointed the Chief Executive Officer of Arena EMEA, and he will
be responsible for overseeing the merger of the two businesses as well
MILLENNIUM STUDIOS
as implementing his vision for Arena’s future. He commented: “This
merger brings together the most talented people in the event services
industry, creating a platform to cement and grow our business with
existing clients, as well as taking advantage of the new opportunities
that will present themselves during these difficult times.”
As part of the company’s efforts to position itself to work more
effectively and efficiently in global product development activities
Audio-Technica U.S. has made two appointments to its Product
Management team. Kurt Van Scoy has been appointed to the position
of Executive Director of Product Management for ATUS. In this position,
Van Scoy will be responsible for directing the product development/
management efforts at ATUS. In addition, he will oversee the ATUS
quality control department. TWO FANTASTIC SOUND STAGES NOW AVAILABLE
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product management team. In his previous position as Sales Engineer, Recent visiting clients include:
Installed Sound, Dixon served as a technical resource for the Audio- Years&Years • James Arthur • Keane • Loyle Carner • Sir Cliff Richard
Technica sales channel in the broad contractor market, where he
helped ensure the implementation of A-T products and technology in
the marketplace while determining the application needs of customers.
BOO KINGS
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Ayrton has welcomed the appointment of Wholestage as its new,
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exclusive distributor for Colombia, Panama and the Caribbean Islands.
Wholestage was first attracted to Ayrton by the cohesive range of high- O W
A GE N
quality products on offer: “The Ayrton product portfolio is balanced
and well thought out, which allows you to cover and meet all the
‘B’ ST
needs of the market,” said Luis Duque, Wholestage’s CEO. “It combines
excellence in quality, sophisticated design and LED technology with
a unique, advanced development in the engineering, at a reasonable
price for the market. This translates into a unique, accessible, quality Telephone: +44 (0) 1234 780100
product which is a great investment for our clients.”
In Greece, Ayrton has named Athens-based Megaevent as its new,
www.millenniumstudios.co.uk
exclusive distributor. “We always look forward to new technologies and

69
INDUSTRY APPOINTMENTS www.interfacio.com • +44 208 986 5002

Peavey Electronics celebrates its 55th anniversary; Creative Productions Founder, Dave Jackson; MPH Australia Founder, Matt Hansen.

our target is to provide these together with the best after-sales support ETC has announced the promotion of Konstantinos Vonofakidis to Regional
to all our customers,” said Megaevent CEO, Sotiris Kolios. “It’s clear that Sales Manager. In his new role, Konstantinos will oversee the sales activities
Ayrton has been working hard all these years to provide a full catalogue of in Greece, Portugal, Spain, Cyprus and Egypt. He will manage sales
products that fits every type of need in any lighting or visual show.” arrangements for key accounts in these regions and work in cooperation
Cast Swiss Light Consulting and Verlinde has announced a partnership with the company’s distributors and dealers.
in Switzerland. Michael Ghesquière, Sales Engineer at Verlinde, explained: Darren Beckley, Sales Manager – ETC commented: “Konstantinos is a
“The Verlinde brand is widely known in Switzerland, especially for its range valuable member of the sales team who has built a great rapport with the
of industrial handling products. Our Stagemaker range used essentially for dealers and customers in his territories. With his strong market knowledge
scenographic equipment is in the early stages of distribution and for us the and expertise, I am confident he will continue delivering high levels of
Swiss market is a great opportunity. Cast’s experience and know-how in the service and be successful in his new role.”
field will be of great help for our expansion in the country.” Vonofakidis added: “I’m excited to build new customer relationships and
Cast Swiss Light Consulting Founder, Silvio Cibien pointed out. “Our work more closely with our dealers and distributors in these markets. I look
partnership with Verlinde highlights our ongoing concern over the past 34 forward to working in this role and growing the business in my regions.”
years of seeking the best products for our customers. Our awareness of the Follow-Me has named Collaborative Creations as its UK partner for
reputation of Verlinde’s equipment does not date from today and we are business development. Tom Wilkes, Director of Collaborative Creations, will
delighted to have this opportunity of working together.” be the UK point of contact for lighting designers or production companies
Celestion has confirmed the appointment of Professional Audio interested in demoing Follow-Me’s innovative technology. “We’re very
as distributor for Ireland and Northern Ireland. “We are excited to have excited to be partnering with Follow-Me as the company looks to grow its
Professional Audio as our partners in Ireland and Northern Ireland,” said presence in the UK entertainment technology market.”
Celestion Distribution Sales Manager, Neil McDougall. “Gerry and his team Follow-Me co-founder Erik Berends added: “We’re happy to announce
at PAL have many long-standing relationships across the region and we our partnership with Collaborative Creations in the UK. Their network and
look forward to having them represent Celestion.” knowledge of the industry will be a springboard for our continued growth in
Gerry Forde, founder and owner of Professional Audio, commented: the British events market”
“PAL are very excited to be partnering with Celestion in Ireland and Peavey Electronics is celebrating the 55th anniversary of its founding
Northern Ireland. Celestion is known the world over for its excellent on 1 June 1965. To grow the Peavey organisation into what it is today,
reputation and quality products, which makes it a brand that our dealers Hartley Peavey looked past divisions and saw what united people – their
are looking forward to being able to offer and end users are excited about.” shared passion for music and their enthusiasm to work in an exciting,

70
INDUSTRY APPOINTMENTS www.interfacio.com • +44 208 986 5002

Commercial Director, Jamie Gosney and Creative Director, Henrik Oppermann join the Sonosphere Board of Directors;
Alphatec’s Dwayne Das, Kanguan Dutta, Out Board’s Dave Haydon with Alphatec’s Devasis Barkataki and Mayank Gaurav; TSL Products’ Tom Dickinson.

growing company. Success as an organisation is achieved only by expertise in the studio, live and installation markets Sonosphere is in the
recognising the humanity of others and embracing their diversity. As perfect position to help.”
Hartley likes to say, “Peavey is a company that doesn’t just build things – we Out Board has appointed Alphatec as its new exclusive distributor in
build people.” India for TiMax SoundHub spatial audio processing and TiMax TrackerD4
During this celebration, the family-owned-and-operated company precision stagetracking systems. Alphatec Managing Director, Devasis
continues to launch new products and solutions Powered by Peavey. Barkataki commented: “We are very happy to welcome the TiMax products
Ushering in an exciting new chapter of growth is the Peavey Commercial into our distribution range for the Indian market. TiMax fits well with our
Audio division, offering pro-audio solutions for venues worldwide, Peavey’s other high-quality brands and suits perfectly our core activities in premium
robust DJ platform continuing to make a positive impact in communities system solutions and integration.”
through battle sponsorship and youth programmes, and its musical Out Board Director Dave Haydon added: “We’ve been fortunate
instrument division where new products aim to bridge the past and future. previously for TiMax to be involved in some great projects with premier
Creative Productions Australia has opened its doors as a new full- local event producers and venue integrators, and now is the right time to
service technical production facility providing design, equipment – lighting, partner with a nationally established full-service distribution, design and
video and audio – plus crew for all shows, tours and live events, created turnkey operation such as Alphatec.”
by the merger of two Australian rental houses: Gold Coast-based Creative TSL Products has welcomed Tom Dickinson as president of the
Productions and Melbourne-based MPH Australia. The new enterprise company’s U.S.-based operations, TSL Products Inc. With 39 years
also unites the energy, passion, imagination, and drive of two well-known of experience holding leadership positions in sales, operations and
and popular industry characters: Dave Jackson, founder of Creative engineering at Bexel, one of TSL’s main partners, Dickinson has extensive
Productions; and Matt Hansen founder of MPH Australia. knowledge in the field of broadcast systems integration.
Commercial Director Jamie Gosney and Creative Director Henrik “I have always been a champion for TSL Products,” said Dickinson. “Over
Oppermann have been appointed to the Sonosphere Board of Directors. the years, I have worked directly with TSL’s Director of Sales Greg Siers
“This is a very apposite time to be part of such incredibly creative team,” and Regional Sales Manager Fred Scott, and they have always been great
Oppermann commented. “So many changes have happened in a very to work with. The Northridge facility now supports TSL Product’s growing
short space of time, and the way we are listening to music is changing as a portfolio, and I am excited to be a part of its expansion. I look forward to
consequence.” further opening doors for all of TSL’s product offerings to customers based
Gosney added: “Now that people are listening to concerts in their home in North America and Canada.”
via livestreaming, there’s a real need to present them with a better audio TPi
solution and the industry is starting to find ways to do that. With our team’s www.productionfutures.co.uk/job-opportunities

72
TPi PRODUCTION GUIDE

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73
BACK CHAT

TREVOR WILLIAMS
TPi Awards Tour Manager of the Year, Trevor Williams, take the hot seat.

How did you come to form Tour Music Live? stages and slots an artist plays at festivals, larger fees and we
I’m from a church background and managed a gospel choir that will deliver those shows on all levels.
put on live concerts. I had my first taste of the mainstream music
industry when a friend called me to production assist three artists
at MTV’s Brand New in 2011. After that, I began working as a Tour As a proudly Black Owned Company, how receptive has the
Manager for Wretch 32. In May 2015, I had built up a roster of music industry been to diversity regarding artist management
artists that include, Stormzy, Dave, Wretch 32 and Grace Jones, to and those behind the scenes?
name a few, so I established Tour Music Live, which specialises in Winning TPi Awards Tour Manager of the Year twice in three years
tour and production management, as well as artist development has been a career highlight and a very proud moment as I was
for live shows. surrounded by my peers, clients and team. However, I was one
of few black men in the room, beyond the catering and security.
This is echoed in every aspect of the live music industry and has
fuelled my passion to break down the barriers. I recognise that I
What are your touring highlights so far? can influence and shape a sector that was previously fuelled
Wretch 32’s 2016 headline show at Kentish Town Forum was by nepotism. I have a highly skilled and talented team that
special, because Bronski and I were trusted on a creative level. includes exemplary black professionals that would otherwise be
It was a turning point for the UK rap and grime scene, as one of ignored by the industry. I have experienced institutional racism
the first shows with a good level of creativity and production. and seek to protect others from this, by providing them with fairer
Stormzy’s GSAP Tour 2017 was also a highlight; the tour was sold access to opportunities.
out with three Brixton Academy shows – a first for any grime artist In 2018, venue staff ignored me when I parked backstage with
– and to play a part in the process was amazing. It goes without my classical artist and crew. The event manager soon arrived,
saying, Stormzy’s headline set at Glastonbury was iconic, and I’m bypassed me and introduced himself to a white crew member,
not entirely sure there’s a bigger highlight than that. saying excitedly: “Hi Trevor, good to finally meet you.” There is still
a huge need to address microaggressions and industry blockers.

How does it feel to play an integral part in the explosion of the

UK grime and rap scene? Have you seen any changes since the movement?
The artists play their part first by writing great tracks alongside I am now having regular and transparent dialogue with those
great producers, which then gives us and TAWBOX the who want to diversify their workforce and provide resources
opportunity to bring that to life on stage. There’s nothing better for young people to enter with no barriers. I acknowledge the
than gaining that understanding and trust from the artist and support that I have around me and understand the impact I have
management that they can have a full-production show, just as a role model to my peers and young people. It’s now time for
as many pop artists do. It’s about investing in your show and action. I’m not talking about putting black people in roles to fill
we will deliver that for you on all levels. We’re now getting more a quota, but putting us there because we are good and want
recognised for our work globally. It’s about investing in your to progress. I am one of very few black tour and production
show as that’s what plays a part in the growth of an artist, the managers here in the UK, but I would love to see more.

74
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