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Archive for May 10th, 2013

FOH Luiz Mazzei Chooses Waves Live Tools for Brazilian Rock Veterans Capital Inicial

— Mazzei was an early adopter of Waves’ SoundGrid® platform in the live realm —

TEL AVIV, ISRAEL, May 8, 2013 — Waves Audio is pleased to see its tools used by the likes of Luiz Mazzei, a talented engineer both in the studio and at front-of-house. Currently, Mazzei is using Waves SoundGrid® platform and an assortment of Waves plugins as FOH engineer for Brazilian rock veterans Capital Inicial.

Luiz Mazzei has been a user of Waves plugins in the studio since 2001. As Waves has moved deeper into the realm of live sound in recent years with the introduction of SoundGrid and other products, Mazzei was able to do what he had always envisioned: “I always felt like I was missing out by not using Waves plugins in Live,” he recalls.

After attending a workshop with FOH engineer Greg Price (Ozzy Osbourne) in Sao Paulo, Brazil, Luiz became even more interested in using Waves plugins at FOH, and he has not worked without them since. He notes, “Nowadays, as an FOH for the band Capital Inicial, I travel with an Allen & Heath iLive 112 console, M-Waves card and a Waves SoundGrid Impact Server, and the Waves SoundGrid Essentials bundle, plus the C6 Multiband Compressor, H-EQ Hybrid Equalizer, LoAir Subharmonic Generator, MaxxVolume and NLS plugins and many more”

He continues, “As I have been working as a producer in studios for more than 20 years, I am constantly concerned with getting a live mix that is similar to a studio mix. I record all the shows and do a virtual sound check utilizing the Recording and Playback capabilities of Waves SoundGrid before every show, striving to recreate the album sound. I manage to do this due to SoundGrid, which enables me to work safely and ensure the quality of my work. My favorite Waves plugin, which I use the most, is the C6 Multiband Compressor, and I use it on almost all my channels. On the master, I use the C6 and the Waves NLS Non-Linear Summer, which brings analog qualities to the mix. I’m extremely happy with the results that I am having with WavesLive Processing and Virtual sound-check capabilities in my shows. Waves is great!”

Luiz Mazzei is part of the growing trend among live sound professionals who are making the move to the next-generation workflow with Waves plugins and WavesLive SoundGrid. Visit www.waves.com and www.waveslive.com for more information.

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Clay Paky Sharpy Washes and grandMA2 Join Fleetwood Mac on Tour

Fleetwood Mac is back on the road and Clay Paky Sharpy Wash 330 fixtures and a grandMA2 console have joined the iconic band on the Fleetwood Mac Live 2013 World Tour. A.C.T Lighting is the exclusive distributor of Clay Paky and MA Lighting in North America.

The new tour, which began in Columbus on April 4 and will wrap in Australia in December, marks the first for the band since 2009′s sold-out Unleashed tour. This year is also the 35th anniversary of their “Rumours” album, one of the most successful in recording history with sales in excess of 40 copies. It remained on top of the pop charts for more than 31 weeks and produced four Top Ten singles.

Lighting designer Paul “Arlo” Guthrie of Minneapolis-based Toss Film + Design is Fleetwood Mac’s long-time lighting designer. “I have to cater to four different personalities (Mick Fleetwood, John McVie, Lindsey Buckingham and Stevie Nicks) and bring them together as one team,” he explains. “For this show we have four big soft box panels and 32 Sharpy Washes on curved lighting pipes, some of them on the floor, some on the rigs and some in pods that come out. They hang on weird angles and move during the show – some are on 45, 90 and 120º angles. They’re well featured – the main workhorse washlight of the rig.”

Clay Paky’s Sharpy Wash 330 is a compact, lightweight 330W washlight, with the luminous efficiency, graphic and optical performance of a 1000W fixture. It is extremely silent and quick and is fitted with a complete CMY color system, special colors, 6.5°-48° zoom, mechanical dimmer, beam shaping filter and motorized top-hat. It is an eco-friendly light, allowing considerable running and consumption cost savings.

Guthrie says that he “tried to design a rig that moves and has dynamic elements so I can change the look throughout the show. I chose the Sharpy Washes because I needed something small and bright. I was curious to see if I could use them as a beam effect without any haze – the band doesn’t like to work with haze.”

He discovered that “the beam reads really well in just the atmosphere. With their great wash capability they’re equally good as a toning light that adds to the theatricality of the show.”

According to Guthrie the Sharpy washes are “working great – exactly as promised. They’re just fantastic. George Masek at A.C.T Lighting was awesome with his support.”

The lighting designer brought his own grandMA2 console on tour to run “the whole show” and reports that “it’s working as good as it always has. It’s super comfortable; it’s like hanging out with an old friend each day. My grandMA is more than capable of running everything, including the video where three M-boxes are in charge of video playback and a Vista Spyder handles routing.”

George Masek, A.C.T Lighting’s Vice President, Automated Lighting, adds, “We always enjoy providing Arlo with new equipment choices, as his designs are always creative and interesting. The small size and large output of the Sharpy Wash fits perfectly into what he was trying to do and he’s always been a brave early adopter and embraces taking new technology on the road! It’s an honor to be associated with Fleetwood Mac and we’re very proud that their show represents the touring debut of the Sharpy Wash 330 in the US.””

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