Adlib in-the-round with Russell Howard
- Details
The Liverpool UK-based production and rental specialist had previously presented Howard performing in the same format in 2017. Neil McDonald from Clockwork Productions oversaw production and brought Adlib on board, having worked together on many previous projects.
Kumar Kamalagharan was again Howard’s tour manager working closely with on-the-road production manager Andy Grey from Clockwork Productions.
The lighting was designed by Adlib’s Tom Webber, while the kit and logistics were coordinated by Dave Eldridge.
The technical infrastructure included a circular stage that was located centrally in the venue with four trusses just off the stage to fly the LED screens and lighting, plus a hexagonal truss immediately above the stage for all the overhead lighting positions
The four screens around the stage were framed with vertical drop-down trusses each rigged with Martin MAC Auras to light the audience.
Four Robe BMFL FollowSpots were also deployed on these drop-down trusses, operated via a single RoboSpot remote system. Replacing traditional follow spots (located in the usual venue towers and cut outs) brought obvious sightline and labour benefits.
The moving lights were 56 MAC Aura LED washes and 12 MAC Viper Profiles, complemented by 16 Chauvet STRIKE4 LED blinders together with 12 Elation DTW BAR 1000s which were used as footlights around the stage edge for close up work and filler when needed.
The console was one of Adlib’s grandMA3 full sizes with a grandMA light for backup, programmed and operated by Tom.
The video screens were a custom 6 by 4m size made up from Adlib’s 5.9mm Unilumin LED product in touring frames. They were primarily used as IMAG, but also handled the graphical opening and ending of the show.
Adlib supplied all the hoists and associated rigging for over 60 points. UK Rigging managed the weighing of the rig during production rehearsals and formatted other related info from the different technical departments. They also supplied a head rigger and local rigging labour.
Systems engineer Sam Proctor was familiar with the in-the-round format. He was joined by Steph Fleming, Marc Peers and Billy Bryson, ensuring Howard’s FOH engineer Sam Cooknell received comprehensive service and back up.
A Coda system was chosen as the best option for creating a truly 360-degree sonic experience for everyone in the room, utilising eight main hangs - each comprising eight Coda AiRAY speakers with six ViRAY down-hangs. One array either side of the four LED screens around the stage created a large ‘sphere’ in effect, with two PA hangs at each of the four corners.
These were complemented by 12 Coda HOPS (high output point source) speakers around the front of the stage and six flown TiRAY speakers per side for Howard’s monitors.
The console was a DiGiCo SD9 running both FOH and monitors, with a fully redundant backup. Russell Howard’s vocal mic was a Shure Axient with an SM58 capsule, with a backup hand-held.
(Jim Evans)
