| Entec
supplies full production for Philip
Kirkorov
Back
to Headlines
Entec Sound and Light
supplied Russian superstar
Philip Kirkorov with
full lighting and sound
production, and also
co-ordinated other production
elements including video
and pyro for his sold
out show at Hammersmith
Apollo. It was part
of an extensive two
month European tour.
Entec has experience
of working with several
leading Russian artists,
and for this show, their
crew co-ordinated in
advance with Kirkorov’s
touring crew to ensure
the busy show day ran
smoothly.
Lighting
Lighting designer Boris
Volkov design involved
three upstage trussing
triangles, constructed
from mini-beam and hung
off 9 points from two
‘rigging’
trusses, plus two straight
A-type front and mid
lighting trusses.
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His operating style was based
on ‘beam technology’
with lots of dramatic beam
and gobo looks from lighting
fixtures spread across all
the trussing elements. These
included 26 Vari*Lite V*L
2000 Spots, 39 Martin MAC
600s, four Martin Atomic 3000
strobes, four 8 lite Molefey,
two Jem ZR 24/7 hazers and
two Pani follow spots, together
with 6 V*Ls on the floor.
Volkov brought along his
own lighting control desk
– the PC based Martin
Light Jockey system.
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Entec supplied 80 ways
of power distro via
two of their custom
systems.
Al Beechey led the
crew of 5 – John
Lahiffe, Cathy Stewart.
Mark Pritchard and Urko
Arruza. Although the
get in and show were
the same day , receiving
the plot well in advance,
getting any queries
answered and thorough
prepping helped everything
go very smoothly.
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Sound
Entec’s Stef Serpagli
took care of all things audio
and babysat FOH, while Mark
“Magic” Ellis
did the same for monitors.
Serpagli explains that Hammersmith
Apollo is effectively Entec’s
‘local’ venue,
and they work there so often
that they have honed the sound
installation needed to cater
for all types of performance
down to a fine art.
Using the d&b Q1 line
array system, they flew 8
tops and two Q-SUBs a side
and ground stacked one B2abinet
and four Q-SUBs per side on
the ground, with Q7s for in
and out fills each side, and
four E3s along the front lip
of the stage. The whole system
was driven by d&b’s
D12 amplifiers. “The
Q-Series is really excellent
for any show – its dynamics
and clarity are really impressive”
says Serpagli.
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There
was a Midas XL3 at both
ends of the multicore
for FOH engineer Vasily
Zarichny and monitor engineer
Igor Rychenkov, who were
extremely pleased with
the results. “The
XL3 is a real favourite
for shows like this”
says Serpagli “Everyone
is familiar with it and
it’s rock solid
reliable”
The system
was processed using
d&b’s ROPE
C software. Serpagli
has a selection of pre-saved
templates for specific
rooms and styles of
music which he uses
as his starting point,
which also speeds up
the process in one off
situations.
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The FOH ‘Posh
Toy’ effects rack
included a Lexicon PCM
91, two SPX 990s, a
TC D2 delay and a single
KT dual graphic inserted
into the masters. Entec
also supplied 3 Drawmer
201 gates, two TLA100A
tube compressors, dbx
160 and 1066 dual compressors
plus CD and mini disk.
Onstage, Magic worked
with Entec’s Owen
McAuley. They ran a
Sennheiser IEM system
with 5 ways of radio
for Kirkorov and his
various guest artists
including Anastasia
Stotskaya. The band
were on wired IEMs,
plus three pairs of
Entec APW wedges and
d&b C7 side fills.
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Entec supplied a selection
of mics, mostly Shure
SM 57s with a Beta 52
in the kick drum and
some AKG 414s. The guitars,
bass and keyboards all
went through BSS DI
boxes and the grand
piano was mic’d
up with an AKG 414.
In the monitor rack,
a dbx compressor went
across the main vocals,
and there was an SPX
990 for reverb and a
Roland SDE3000 for delay.
Entec also co-ordinated
supply of video and
pyro kit for the gig,
sourced from Arcstream
AV and LeMaitre respectively
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Video
Martin Kapp oversaw
the video elements for
Arcstream AV. He and
his crew Dan Carling
and Nico Dejonon set
everything up for Kirkorov’s
video director Roman
Rodin.
Either side of stage
were two 10 by 7.5 ft
fast-fold projection
screens which were rear-projected
on to by two 10000 lumen
Christie LX100 machines.
Playback sources were
stored on DVD and replayed
through two players,
and there was also a
Sony camera feed from
FOH. Rodin used a Fora
VPS-300 mixer.
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Pyro
Le Maitre supplied
the pyrotechnic effects
which were set up by
Mark Thomas and operated
by the tour’s
pyro tech, Oleg Gaponov,
using a Pyrodigital
control system.
There were 6 onstage
pyro positions and one
offstage for concussion,
plus two C02 confetti
cannons. The gerbs were
Le Maitre 30 x15s (30
second 15 ft) and they
also used quarter second
and half second Stage
Gerbs, Stage Mines,
Giant Fireballs and
Concussions.
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| Le Maitre liaised
with the local authority to get
the licence application approved,
and with the tour re. the required
effects. They then built 6 pyro
‘boards’ housing all
the effects in their factory,
brought them to site and plugged
them up onstage, making the job
very time efficient. |
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