Verfügbare Informationen zu "Bühnendekoration"
Qualität des Beitrags: Beteiligte Poster: Marco290991 - Angus - Dr_Sido - Boogie Man - Tommie67 - metator01 Forum: AC/DC Forum Forenbeschreibung: Deutschsprachiger Treffpunkt für AC/DC Fans AC/DC Forum | Deutschsprachiger Treffpunkt für AC/DC Fans aus dem Unterforum: Allgemeines zu AC/DC Antworten: 18 Forum gestartet am: Sonntag 07.01.2007 Sprache: deutsch Link zum Originaltopic: Bühnendekoration Letzte Antwort: vor 10 Jahren, 9 Monaten, 7 Tagen, 11 Stunden, 20 Minuten
Alle Beiträge und Antworten zu "Bühnendekoration"
Re: Bühnendekoration
Marco290991 - 18.01.2007, 23:32Bühnendekoration
http://squealer.net/acdc/ruffstuff/buehnendekoration
Re: Bühnendekoration
Angus - 19.01.2007, 18:59
Die Seite kenn ich, des: http://squealer.net/acdc/ruffstuff/hellsbells
is auch ganz interessant!
Re: Bühnendekoration
Marco290991 - 02.11.2007, 21:36
Hab ein Bild von AC/DC als Legozeug( :roll: ) gefunden
Re: Bühnendekoration
Dr_Sido - 03.11.2007, 13:16
haha, da ist Slade am Schlagzeug :P
Re: Bühnendekoration
Marco290991 - 03.11.2007, 15:08
Dr_Sido hat folgendes geschrieben: haha, da ist Slade am Schlagzeug :P
:twisted:
Re: Bühnendekoration
Boogie Man - 31.03.2009, 21:39
http://www.stufish.com/acdc/black-ice/reality.html
Re: Bühnendekoration
Boogie Man - 26.07.2009, 02:07
Link
http://www.tylertruss.com/
http://www.tylertruss.com/product/gt.php
http://www.tylertruss.com/product/tylerlink.php
Re: Bühnendekoration
Tommie67 - 26.07.2009, 10:14
Man wie findest Du sowas immer?? Geil. Danke.
Re: Bühnendekoration
Boogie Man - 27.07.2009, 01:00
Behind the scenes on AC/DC's Black Ice tour as it visits the Palais Omnisports de Bercy in Paris, February 2009.
Features an interview with sound engineer Paul 'PAB' Boothroyd on his use of an Electro-Voice X-Array PA system and two Midas mixing consoles, the new, digital Pro 6, and the vintage analogue Pro 40.
Link
AC/DC: BLACK ICE IN EUROPE
Mark Cunningham climbed aboard the Eurostar express to Paris to catch a whole lotta rosie... And the train theme didn’t end at Le Gare du Nord.
At a time when political correctness and saving the planet are supposed to take precedence over simply enjoying life to the full, it would be ironic if the year’s biggest box office smash turned out to be AC/DC’s Black Ice tour — one that employs between 20 and 30 trucks, has a set list filled with anti-feminist gestures, doesn’t seem to give a toss about challenging the boundaries of ‘safe’ noise levels, and features a chain-smoking drummer.
These were merely passing thoughts as I watched the band perform at the top of their game at the Palais Omnisports de Bercy in Paris on February 25. Naughty, yes... but so refreshing to know that the true spirit of no-compromise rock’n’roll is alive and well in the hands of this genre-defining Anglo-Australian band, currently out on their first full-length tour since 2001.
As someone who had only seen AC/DC once before, in 1980 at Hammy Odeon on the Back In Black tour (just after ex-Geordie frontman Brian Johnson took over from the late Bon Scott), I was keen to discover if the band can still cut the mustard in their late middle age. No problem! The current show is everything an AC/DC fan, young or old, would hope or expect to see. A perfect mix of classics and new material delivered with maximum gusto.
For the die-hards, the notion of guitar hero Angus Young treading the boards without his trademark school tie, cap and shorts is simply unacceptable, and he knows it. There he is, in all his wild abandon, and whilst he’ll be 54 at the end of this month, he’s as fit as ever with no sign of mellowing as he attacks his SG, mouth agape.
Preparations got underway for this arena tour when the band and their sound and backline crew headed out to Philadelphia for a month of rehearsals at Center Stage, leading up to mid-October when the whole production came together at the Wachovia Arena in Wilkes-Barre, Pennsylvania, where the tour began on October 28 under the management of Tim Brockman, who is supported by assistant Darren Hagen.
“For the whole week we were there setting up the show in Wilkes-Barre, the band probably came on stage for about 15 minutes,” said production manager Dale Skjerseth, the man known throughout the industry as ‘Opie’. “They just trust what we do.”
For this tour, Tait Towers handled yet another AC/DC stage construction with its usual mastery as well as providing the scissor lift it built for the Stiff Upper Lip tour of 2000-01.
Joining the band’s now-iconic cannons and Hell’s Bell are two new ‘gags’ conceived by Jeremy Lloyd and Mark Fisher at Stufish — namely, a huge train and an obese, inflatable ‘Rosie’ who emerges astride the loco during the 1977 Acca-Dacca classic that bears her name.
While ‘Rosie’ is yet another fine example from Rob Harries at Air Artists — the Suffolk firm whose inflatable prop commissions from Stufish have spanned tours by Pink Floyd and the Rolling Stones, among others — the locomotive was created by those clever people at Brilliant Stages (see sidebar on page 46).
As Opie explained: “It came directly from the new album and the track, both of which were originally going to be called ‘Runaway Train’. Then the album title changed, and the song became ‘Rock’n’Roll Train’, but the idea of having this huge, life-size train on stage was still as relevant. Mark Fisher did the design, we showed it to the band and they went with it.
“We gave ourselves plenty of time, from Mark’s first sketches last June through to manufacturing, to ensure that deliveries arrived within the deadline, and I always like to use these companies because there’s no fuss and they’re so great to deal with.”
HIGH VOLTAGE
Mixing AC/DC’s heavy duty sound was Paul ‘Pab’ Boothroyd who is, of course, also known for his long-running association (since 1989) with Sir Paul McCartney. Pab’s relationship with AC/DC can be traced back to 1996 when he undertook his first of three world tours (Ballbreaker) — in addition to several one-offs and festival dates — as their FOH engineer.
“Both John ‘Grubby’ Callis [monitor engineer] and I, among others, were new to the camp back in ’96,” recalled Pab. “We put our names in and got the job. Opie was the new production manager and it all felt like the first day at school.”
The late John Roden was a later arrival when he took over on monitors during Stiff Upper Lip and it’s clear that his professionalism and humanity continues to be as much missed in AC/DC world as it is amongst the McCartney camp.
Outside of touring, Pab is also involved with AC/DC at their London recording facility where he engineers Malcolm and Angus Young’s writing sessions. “I oversaw the writing of many of the songs for the new album, and it’s fascinating to watch them work close-up.”
His choice of the Electro-Voice X-Array PA system for Black Ice was influenced by its successful use on Stiff Upper Lip... and the band’s own preference.
Supplied worldwide by Clair Brothers, this system has quite a history having first debuted on the Rolling Stones’ 1997 Bridges To Babylon tour when it was sprayed gold as part of Mark Fisher’s regal-looking set. It was then owned by Harry Witz’s dB Sound but later became absorbed into Clair’s inventory when Witz’s company was acquired by the Lititz, PA sound rental giant.
Witz continues to work within the Clair organisation and was consulted on the design of the AC/DC system which, overall, carries a staggering 96 X-Array cabinets driven by EV P3000 amplifiers.
There are three versions of the full size boxes that appear in each of the main two left/right clusters: a hi-mid pack and a low cabinet with two 18” woofers, arranged vertically in repeating columns, and a side column of full range boxes which has one 18”, one 12” driver and a horn, that is positioned at the side of the cluster for short-throw.
System engineer Dave Dixon explained the other elements of the rig. “On the bottom of each cluster are half-size X-Array boxes with the same hi-mid/low configuration. Then, at each side, we have a line array hang of Clair i-4 [now i-5] flown high up to cater for 270° arena audience, and there are Clair P2s for front fill. These are driven by Crown Macrotech 3600VZs and QSC Powerlight 9.0s.
“There are two lines of 16 EAW SB1000 subs on the floor under the stage, powered by Lab.gruppen fP6400s. It’s not usually a preferred Clair box, but that’s a Pab decision based on his experience of working with Concert Sound.”
The X-Array elements are controlled by XTA processors which share rack space with the P3000 amps. Clair’s own PA elements are handled by the company’s iO system management. “On the front end, we have a Dolby Lake for EQ distribution and delay,” added Dixon. “I have two outputs for X-Array, two for i-4, two for subs and two for the front fills.”
“The guys like the look of a big rock’n’roll PA and it gives me a lot of baffle area,” said Pab. “Line arrays are great and we’ve played through them before, but they didn’t want the thin pencil look and it doesn’t suit them. AC/DC are known for their big sound and it’s their culture.
“The X-Array sounds really good and Dave Dixon’s a phenomenal system engineer. He’s worked with me on AC/DC and other projects in the past and between the two of us we get the best out of it.”
GOLD STANDARD MIX
Pab’s move back into the unforgiving world of analogue with the Midas Pro 40 surely left him without the comfort zone afforded to him by the instant recall facilities of the Digidesign Venue he had been using for McCartney’s most recent live work.
“Actually, I think this is the comfort zone,” he said, pointing towards the Pro 40’s long control surface, hand-built by Midas circa 1985 and owned by Concert Sound — now also part of the Clair empire.
“This feels like an old pair of slippers that you haven’t worn for years, but have just found underneath your bed, put them on and thought, ‘ah...that’s better’!
“This is what I started with but a lot of younger engineers have grown up on PM1Ds and other digital consoles, so they’d be understandably nervous about suddenly being faced with a very manual, analogue alternative that requires you them to turn real pots and switches,” continued Pab, who turned 50 last month.
“For me, the Pro 40 is a very simple desk that does what you ask of it and it’s like an old friend.”
What prompted this antiquated choice in the first place? “It was my idea,” said Pab. “I knew this would be an analogue main mix and the XL4 would have been another choice but the band and I work with an old Neve console in their studio, and I thought about what the live version of a Neve would be. The older Pro 40 was the obvious solution and I happened to know where there was one that had a lot of history.
“Tim Boyle, Pete Cornell and I spent many hours at Concert Sound, restoring it with a Q-Tip, wiping away the years of dirt. We had access to lots of spare parts and modules and made the best we could out of what we had. I’ve actually used this desk many times.
“It was built for Concert Sound, probably for Dire Straits with [the late] Pete Grainger at the controls. Concert Sound and Midas would have worked closely on what they needed, listening to feedback and ideas. That’s a process that still goes on today and what’s always been good about Midas.
The Pro series was born in the late 1970s and as brand development manager Richard ‘Fez’ Ferriday explained, it started out as a frame whose number of modules determined whether the console was, for example, a Pro 2, 4 or 40. “Users would mix and match modules from different consoles to fit the application, which is why there are a couple of Pro 2 modules in Pab’s Pro 40,” said Fez.
“It’s interesting that, while it’s digital, the Pro 6 also follows this modular pattern, so what the guys are using here is a mixture of Pro 6 control and processing, and XL8 I/O to create the desired audio system for AC/DC. Using the XL8 mic splitters has the extra benefit that we can supply audio to all four consoles simultaneously.
“Whilst there’s a quarter of a century between the two consoles there are so many similarities from user and audio perspectives.”
Naturally, outboard cannot be foresaken when reverting back to analogue. “Yeah, that’s the one thing you forget about because you become accustomed to having everything available to you within a digital desk, so suddenly you have all these racks!” said Pab.
“I’ve got my trusty Drawmer DS 201 noise gates, dbx 160SL compressor/limiters on bass and BVs, and my ‘secret weapon’ from Radial — the Phazer Bank which gives me the ability to phase in line two devices to make them sound like a single source. Here, I’m using it to combine the two channels of the guitars because we’re running iso cabinets.
“I’ve also got a couple of George Massenburg GML-8200 five-band stereo parametric EQs. I was worried about Brian coming out on the runway and singing in front of the PA which is always a problem.
“Brian’s a very distinctive vocalist but he’s not one to bend the VU needles, so I need to be careful when he’s out there and I use those parametrics to slice out the sensitive frequencies and avoid a blaze of feedback.
“I’ve then got a Summit TLA-100 tube levelling amplifier that helps to punch Brian’s vocal in the front of the mix.”
How does the ‘classic Midas EQ’ compare between the Pro 40 and the digital Pro 6? “When you do a simple microphone check, there’s very little difference. The real contrast is noticed when you sum a lot of inputs together and it’s the final master buss out where there’s likely to be a big change. But with the Pro 6, that wasn’t as noticeable.
“They’ve maintained that character of sound that comes out of the main buss. It’s very smooth; the high frequencies are more precise and authentic.
“I’ve not used an XL8 so far, because I haven’t had a reason to, but when the Pro 6 came out to America and we started working with it, with Fez’s valuable input, it slotted into place really nicely.”
The Pro 6 has been used primarily by engineer Adam Rebacz to mix the stunning Irish opening act, The Answer, and for Pab to record AC/DC performances on to a Klark Teknik DN9696 hard disk digital multitrack recorder.
Pab: “I set up the Pro 6 as an emergency console so that I can un-mute the masters and go straight into a live mix that we already have dialled in, and occasionally I will check that mix. You’d be very hard-pressed to tell the difference but so far, it hasn’t been necessary resort to this back-up. It’s very comforting to know it’s just an arm’s length away though.”
The irony of having a digital console as back-up for an analogue board was not lost on TPi... or indeed Fez, whose division of loyalty between both domains must have been struggling!
Pab’s microphone choices for Macca have remained fairly static since 2001 and, interestingly, most of those choices apply to AC/DC and other acts he mixes, including Paul Simon.
“I’ve long been a fan of Audix mics, particularly on drums, and there’s no need to change,” he said. “I’ve always like standard Shure 58s for vocals and Brian and the guys are happy with that choice.
“However, there are a few differences for AC/DC. On this tour, I’m using Audio-Technica AT4047 large diaphragm condensers on the guitars. I find they really suit the sound that Malcolm and Angus get out of their cabinets, and whilst the on-stage SPLs are very loud I’m still able to get warmth from those mics.”
MONITORS
Joining Pab at the other end of the multicore was another face from the Macca camp, monitor engineer Jon Lewis who had arrived four days beforehand to relieve his predecessor, Mike Adams, for the rest of the European leg. Lewis is mixing on another Midas desk — a Heritage 4000, chosen for its higher stereo output count.
“It’s my first time with a 4000,” he said. “I’m a regular 3000 user and it’s just the extra channels that make the difference. We’re up to around 38 outputs for the mixture of in-ears [Ultimate Ears UE-11 moulds with Sennheiser G3 hardware] and wedges... of which there are many to provide the coverage for the band’s movement and compensate for the extreme levels of the backline!”
Singer Brian Johnson — whose brother Maurice’s company Gig-A-Bite provides the tour catering — uses one ear mould which is essential for his moments out on the runway. Bassist Cliff Williams and drummer Phil Rudd both use a pair.
Other than that, there are 17 Firehouse 15” downstage wedges zoned into different coverage areas, with another two under grilles at Malcolm’s and Cliff’s vocal positions, a pair of flown X-Array side fills per side, a pair of rear X-Array fills per side and another set of X-Array downstage fills laid on their sides. Completing this formidable system is a drum fill of four X-Subs and three top boxes.
Mike Adams put the system together although it was largely inherited from John Roden’s previous design, which is why several items of outboard kit and wedge choices originate from many tours gone by.
A couple of Avalon 737s are inserted across the hi-hat and Johnson’s vocals, an Eventide H3000 harmonizer provides vocal doubling, and the racks also feature a dbx IEM processor, Apex gates and t.c. electronic 1128 graphics which shape the overall monitoring curve.
Also at Lewis’ end of the production is stage manager Chris ‘Super’ Deters and AC/DC’s backline tech army — Geoff Banks (a.k.a. Bison), Richard Jones, Takumi Sutsugu and Luke Lowes. Headed by Chris Nichols, the sound crew also includes Ken Check and Ricardo Roman.
As ever, the beauty of live sound is in the ears of the beholder. A clinical hi-fi sound would never be right for this band and so it was no surprise that a main line array was absent. The X-Array system, now around 12-13 years old, serves as hard evidence that the very latest cutting-edge technology isn’t always the perfect sonic solution.
A meaty slab of well-mixed, no frills, in-your-face rock’n’roll is what AC/DC have always demanded, and that’s what I heard in Paris. Yes, it was probably the loudest gig I’ll see this year, but clarity remained, and that’s the key.
LIGHTING
This is the first AC/DC tour for Upstaging as lighting vendor. The Illinois company worked with creative director Patrick Woodroffe on furnishing the light show that he co-designed with Dave Hill, with the input of lighting director Charlie ‘Cosmo’ Wilson.
It was at Upstaging’s facility that the lighting rig was first assembled to enable Dave Hill’s initial pre-programming on an ESP Vision visualisation system before completing the job at the Wilkes-Barre production rehearsals.
“I did most of the programming on my own with Cosmo sat beside me, chipping in suggestions based on the many years he’s lit the band,” explained Hill.
“The best thing for me was Opie’s expert pre-planning. He has a hand in every department and ensured that the transition from Upstaging to Wilkes-Barre was seamless. Every little aspect of the production was always ready on time.”
The first impression is one of a big, classic 1980s rock show brought into a modern context. “That was precisely the idea,” said Cosmo.
“We talked about emphasising the retro feel by having a full PAR can rig. The band want to feel a little heat, and the attack and decay that PAR cans give you, so we do have around 120 PARs in use [on six-lamp bars] plus some Panavision Maxi-Brutes. But we’re mostly using intelligent fixtures because a lot of us are getting good at making moving lights look very rock’n’roll.
“We decided to stay with the big trusses close together, and the curvature is tied in with creating the impression of a tunnel for the train — based on Milan railway station.”
Working with Cosmo is Ron Schilling who heads a lighting crew that includes Mark Weil, Mark Ryder, Kendra Sandoval, Brian Kasten, Steve Richards, Jim Fredrikson, Josh Wagner and Phil de Boissiere.
Along with the fixtures, Upstaging supplied around 60 10’ sections of its specialised black Hud truss system, named after its creator, John Huddlestone. “It was pre-rigged — all the fixtures stay on there,” Cosmo explained. “It’s a really sleek and effective design with couplers that give us the ability to make the curves easily.”
While 36 Vari*Lite VL3000 spots provide the hard edge lighting, well over 100 Coemar Infinity Wash XLs were specified as the main workhorse fixtures by Woodroffe and Hill, who have used them with several other artists recently, including Genesis.
“The Coemars are very bright and have certainly become a favourite,” said Cosmo, who has previously worked with Foreigner and The Scorpions.
“They can lose a little intensity when you start to put deeper colours through them but we have so many up in the rig that it’s not an issue. Although the VLs never lose their focus, they don’t cut as much. I think it’s a bulb problem. When we put brand new bulbs in they cut better, but the Coemars are so stunningly bright by comparison.”
Adding further punch are 48 Clay Paky Alpha Beam 300s which are positioned all around the stage — at the front edge, on the backline and on the upstage truss — providing big ACL looks throughout the set. “For me, the Alphas transformed the show,” said Dave Hill.
Cosmo agreed: “They are incredible — all that intensity and speed of movement from just 300 watts a piece is just a mind-blower! We set them up on the floor at Upstaging and were so impressed that we wanted to double the order.
There were going to be more Big Lites on the upstage curve of the truss but a number of factors swayed us to get rid of the Big Lites but one [used to light Angus Young on the scissor lift] and replace them with another 24 Alpha Beams.
“They’re a moving ACL as far as I’m concerned and they’re really distinctive. They give me the opportunity to make the beams as tight as I want and having gobos in a wash light is a massive advantage.”
The Rock’n’Roll Train “flickers into life” care of Martin Atomic strobes underneath the loco, 8.5kW Hungaroflash T-Lights which provide crackling lightning and storm effects, and more Coemars for silhouetting. Another ‘weapon’ is the discreet GLP Elation Impression LED fixture, of which 24 are used specifically to saturate the train — and other key areas of scenery — with intense uplighting.
“There was never any good place to light the train from inside other than a window, which was used for a flame projector, so we literally surrounded it with these fixtures,” said Cosmo.
“We also have some LittleBigLites on the ends of the arches, plus 4-lite and 12-lite Molefays, [63] Martin Stagebar 54 LED battens and [45] Color Kinetics ColorBlast 12s, mainly for audience lighting. Patrick originally spec’d these LED lights as truss toners but black truss just doesn’t light, so we just turned them on the audience.”
Four Lycian follow spots and a pair of DF-50 hazers round off the main fixture spec. “The band’s message to us is that whatever we use on the show — lights, effects, sound, whatever — there has to be a purpose for it,” observed Cosmo.
“The train speaks for itself. The band don’t like smoke machines but they understand that I need to give the lights an ambient quality, and you have to get it from somewhere. So, recognising that a real-life piston would always have steam coming out of it, I put one of the smoke machines down there and it all made sense to them.”
Many of today’s leading LDs have reported to TPi that their choice of an MA Lighting grandMA console came through their previous embracing of the now-classic Icon desk. Dave Hill has recently raved about the console and in Paris, Cosmo was equally enthusiastic.
“I’ve worked with pretty much every reputable console out there and, yes, I was a big fan of the Icon and Avos for years. But I’d heard so many good stories about the grandMA that I had to try it. I used it in a few one-offs and liked it, but the best way to really learn and appreciate it was to take it on the road... and I’ve fallen in love with it. I don’t miss the Icon anymore.”
While Cosmo operates faithfully to the Woodroffe/Hill design, he enjoys the amount of free rein that the pair allowed for his own expression during each show. “I am very hands-on, you could say, and although I’m not a fan of touch screens I like the fact that the grandMA screens have colour and allow you to move things around and make instant changes.
“I have a back-up because, as we all know, computers do crash — but this hasn’t missed a beat so far. It’s by far the best and most reliable of all modern consoles. In fact, there have been no serious problems with any of the equipment. We’re working with some very solid gear.”
But let us not forget the flames and explosions. Pyro Pete Cappadocia’s US company Stage & Effects Engineering is the main pyro vendor on Black Ice, with Uli Frick and Chris Davis in charge of the generous display at the top of the show for the train intro. It’s followed by another appropriate blast during ‘T.N.T.’ and a final eruption when the eight cannons fire in sequence near the end.
VIDEO
California-based Screenworks is supplying the video requirements for Black Ice and its new Daktronics 10mm PST-10 modular LED screen is making its touring début.
Measuring 32’ x 24’, it’s made of magnesium and has an aluminium frame, both of which help to significantly reduce weight by up to half in comparison to many contemporary high density screens, advised video director Mike Duque.
“It splits into two on super quiet, super smooth Vario-lift motors, using a Motion Labs tracking system that was put together by Tait Towers.”
The content played for the opening sequence is shown in HD (16:9 aspect ratio) all the way around, on the main screen and the two 16’ x 12’ side projection screens that are fed by Barco FLM projectors.
Patrick Woodroffe worked with onedotzero to create a Manga-themed, tongue-in-cheek introduction that sees a runaway loco crash and then suddenly emerge in all its steaming ‘real life’ glory as the screen parts and the band appropriately kick into ‘Rock’n’Roll Train’.
Sam Pattinson of onedotzero explained: “Patrick approached us with a script for the opening sequence. He referenced the Willie Williams-designed Manga girl from the Rolling Stones’ Licks tour which Patrick had directed. I’d commissioned animator Murray John to do the Stones piece for ‘Honky Tonk Woman’ and wanted to stick with the same animation team for the AC/DC intro.
“The storyline was about manic and devilish Angus, hell bent on crashing a train into a town. As the train tears through the desert at night, two super groupies ambush him and attempt to stop the train before it crashes.
“We started off by designing the characters and worked out how the piece would work without dialogue and how we’d co-ordinate the climax of the animation and the introduction of the life size train prop on stage, on which the real Angus was originally going to ride. Patrick helped smooth this transition with blinders and pyro.
“Fellow animators James Thompson and Barney Wewlett were brought in to create the 3D environments and colour the artwork. We then commissioned Ian Dalsemer at LA sound studio, The Elements, to create the crucial soundtrack which he mixed through the tour PA.”
All of onedotzero’s work was carried out over eight weeks at its London studio, whilst keeping Opie and Woodroffe updated. The final result was a fast moving 2.5 minute animation that starts the show with a bang!
For the most part, however, it’s a live I-Mag show that relies on six Sony cameras — four manned and two remote-controlled Robocams that mainly focus on Phil Rudd on drums but also regularly pan out to the crowd and pick up Angus Young’s animated antics, such as his strip on ‘The Jack’.
The exceptions to I-Mag include flashes of AC/DC logos and a retro compilation of album covers for ‘Let There Be Rock’, assembled by Jeff Claire who consulted on the general style of the video cut, which Duque pilots from a Ross Synergy 2.5 MD-X SDI console.
“We’re barely using 25% of the Synergy’s capabilities because we don’t have that many inputs. We’re not even using media servers,” said Duque. “Instead, we have Virtual VTR media controller that is run by a pair of Macs, and we’re definitely kept on our toes during the show!”
Duque is joined in the video world by engineer Kevin Tokunaga and colleagues Angelo Bartolome, Greg Santos and Gabe Lopez.
KEEPING SAFE
Mojo Barriers has supplied 100m of its proprietary black aluminium barriers for the main front of stage barrier and FOH mix position for all dates on the European tour.
On the first night in Europe, at Oslo’s Telenor Arena, Mojo’s new intelligent turnstile Gatekeeper system was deployed as the new venue management and promoters were keen to ensure a safe, regulated crowd flow on to the arena floor through one entrance.
Said Opie: “Mojo Barriers give us a high quality system and they have all the specials and corners needed to get around this uniquely shaped stage. There is a lot of history within the AC/DC team. We know we can rely on the Mojo team and we like to stick with what we know is the best system.”
Other crew contributing to the Black Ice tour include security director Bob Wein, head rigger Chad Koehler, head carpenter Denny Rich, lead truck driver Sean Robinson, amp tech Rick St. Pierre and head merchandiser Nick Jones.
The supplier roll call is rounded off by AAA Communcations (radios), Beat The Street (buses), Transam (trucking), Sound Moves (freight), CAT Entertainment (power) and Music By Appointment (travel).
AC/DC’s Black Ice tour arrives in the UK and Ireland next month and will cover Europe once again in May and June when an expanded stadium production will tour with three 30m wide Super Roof systems from Stageco amongst an additional 10 trucks’ worth of kit.
TPi
Re: Bühnendekoration
Boogie Man - 27.07.2009, 01:32
und weil´s so schön ist noch eins
:arrow: Hampden Park 09 AC/DC Timelaps
Re: Bühnendekoration
Boogie Man - 23.08.2009, 21:30
Photo gallery: AC/DC setup at Mosaic Stadium
Preparations begin for the AC/DC concert on Aug. 24 at Mosaic Stadium in Regina
http://www.leaderpost.com/entertainment/Photo+gallery+setup+Mosaic+Stadium/1905599/story.html
Re: Bühnendekoration
Boogie Man - 26.08.2009, 20:29
AC/DC in Regina 360° Kamera
http://www.leaderpost.com/panoramas/acdcregina_082509/index.html
Re: Bühnendekoration
Boogie Man - 06.09.2009, 13:14
ProSoundWeb
News & Information for the Audio Professional
Inside Story: Sound Reinforcement For AC/DC’s Black Ice Concert Tour
Variety Of Midas Consoles Accompany AC/DC As Black Ice Tour Lands In The U.K.
Sensaphonics Taps Veteran Monitor Engineer Mike Adams As Director Of Touring Sales
Re: Bühnendekoration
Boogie Man - 13.10.2009, 01:03
Leider nur in Französisch, aber ein interessanter Einblick unter der Bühne
http://www.sonomag.com/Archives/Article,Go,reportages,ac-dc-stade-france-est-clair-est-claque,Id,3285.html
Re: Bühnendekoration
Boogie Man - 21.07.2013, 16:28
Re: Bühnendekoration
metator01 - 21.07.2013, 22:06
Entschuldigt meine Unwissenheit, aber wer ist das was hat er gemacht?
Re: Bühnendekoration
Boogie Man - 22.07.2013, 12:37
Hello metator1
Der Sound ist das eine, die Bühnedekoration das andere !
:arrow: http://www.stufish.com/ac-dc/stiff-upper-lip/reality.html
:arrow: http://www.stufish.com/ac-dc/black-ice/reality.html
... schaue unter Press & Credits
sowie für die gesamt Übersicht hier :arrow: http://www.stufish.com/home.html
Rock on
Re: Bühnendekoration
metator01 - 22.07.2013, 15:30
Ja, dank!
Der gute Herr Fisher hat gute Arbeit geleistet.
Mir haben die Bühnen jedenfalls gefallen.
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