Avraham Tal turns electronic with Robe
- Details
He wanted this to be achieved without the mechanical precision of timecode but with a more organic process. Co-designers Eran Klein & Omer Israeli of Cochavi and Klein Light Architects proposed a scheme - including Robe moving lights - which was chosen to help explore and develop this idea and these new directions for the stage presentation. Madrix programmer and tour LD / operator, Naor Bonomo also provided input.
A major part of this creative chemistry was focussed on finding a new way of synching lighting and video with elements of the music, utilising MIDI over Ethernet into the grandMA2 lighting console via a magic little ‘boom box’ device that Naor spec’d and programmed.
Different lights can be ‘played’ per song, and instruments triggering the action can be assigned via the lighting console, all of which makes the process live and completely harmonious with the music and the vibe of the moment. This setup allows the artist to improvise whenever he feels like it, without timecode dictating the schedule.
The lighting console also triggers the Madrix controller running the mapping on the LED tubes.
The overall look of the show was inspired by multiple aspects including vintage 1980s style DJ light boxes, and the lighting rig is designed with six distinctive and different layers or levels, all of which can work together or individually. They can also be combined or stripped back as the set unfolds, revealing a surprise for every number.
This includes the 18 Spiiders rigged above the main section of the stage and a layer of BMFL spots stationed upstage denoting the back of the set.
On other levels are a row of Sunstrips along the front of the stage in the footlights position; a striking wall of LED tubes immediately behind the band; a layer of strobes and some modern versions of classic 1980’s multi-light balls on moving head yolks as well as some Jorgos RGBW triangular tiles.
Seven Robe MegaPointes are positioned directly above the band for individual key lighting, and three for back-lighting Avraham. Another five BMFL Spots on the front truss provide the main front key lighting.
Four BMFL Spots on the floor at the back shoot through the band, the LED tube wall and the rest of the set. These are very important to the look, amplifying lighting instruments like the LED wall that are acting as physical set pieces, and boosting the overall perceived depth of the stage.
Another two MegaPointes are positioned on each side of the stage to make the stage space appear a bit wider and to backlight guest musicians positioned on either side of the stage.
Cochavi & Klein designed the set. The production manager is Lihi Gindin, the lighting director is Ziv Holtzman and the project manager is Dor Aichner. Sound is designed by FOH engineer Amotz Nachmany.
Lighting and sound equipment is being supplied by Hakol Bakol, with some of the Robe and the Jorgos fixtures supplied by Danor Theatre & Studio Systems and the LED tubes & Madrix from KO. Pixel Studio created the video content.
(Jim Evans)
