Special attention was paid to sound production in order to replicate the composer’s sonic range with crystal clarity.

A sonic experience from the edge of the stage to the stands was provided by the K1 system from L-Acoustics (K1, K2 with KS 28 and Kara on a delay), 40 wireless microphone lines and 30 wireless monitor channels. Bombastic pieces were balanced against delicate, almost intimate tones, while winds and strings, three drummers, percussionists, guitarists and bassists were able to rely on their monitors at all times. In addition to over 300 instruments and show interludes by the eight-member dance and vocal ensemble, technology was also used to evoke cinematic emotions in the audience – requiring sound industry experience in every detail of live entertainment.

     “Playing 34 shows in two months with such a large crew and such a diverse ensemble is wonderful, but also a great challenge. That’s why we are happy to have satis&fy at our side as a partner who can really deliver everything from a single source. Instead of coordinating service providers, working with our friends from satis&fy lets us concentrate on what we do best: earth-shattering live entertainment,” says Thomas Schmitt, Head of Touring Production at Semmel Concerts.

When it came to special constructions that were touring-ready, optimizations had to be made this year in numerous areas. Thanks to a rigging system consisting of separately controllable trusses from CyberHoist, a member of the satis&fy Group, a moving video screen could be flexibly lowered all the way to the front edge of the stage. At the customer’s request, the complex suspension system, including space-saving load spreaders, was slimmed down by 70 centimeters. This meant that the LED wall not only blended seamlessly into the stage backdrop, but set-up and dismantling times were also much shorter. The same applies to the control elements of the Robe FollowSpot system used, which normally has to be laboriously dismantled into its individual parts before transport.

satis&fy-manufactured workstations for the operators completely eliminated this step, which meant considerable time savings for a total of 34 shows.

The dynamic lighting design by John Featherstone (Lightswitch) was also impressively brought off thanks to motor hoists from CyberHoist. The shape and architecture of the stage space changed physically to match the music. Thanks to long-standing cooperation with the company Video Bär, the spectators in the last rows were also able to watch the action on a 250 square meter LED screen. And a total of 15 mini cameras, 5 dome cameras and 4 camera trains were used to complement the musical impact with picture as well – from wide angle shots to up-close shots. 9 Robe FollowSpots followed the artists on stage, while the operators backstage used custom-built, variable workstations.