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The epitome of arena rock, Linkin Park’s latest tour sees sharply angled semi-transparent screens deliver layer upon layer of dynamic content that effortlessly mixes pre-recorded video with live cameras. As the screens move up and down, sometimes revealing and sometimes masking band members on plinths, they transmit vibrant, fast moving curtains of sharp image and light. Videocolludeswithstark,edgyangularbeamsthatcombinetodelivereverythingfromstingingexplosionsofstage-wideblinderstointimatelow-littableaus,masterfullyechoingLinkinPark’srichlylayeredsound,packedaseverwithbassysynth-scapes,breakneckdrumming,aggressive,fast-fingeredguitarriffsanddeliciouslyconfrontationallyrics.

VISUALSAkeyelementoftheshowdesign,whichisbasedonpreviousdesignsbyTourDirectorandProductionManagerJimDigbyandLightingDesignerOliMetcalfe,isthevisuals. VideoDirectorandContentProducerBrandonParviniofLAbasedGhostTownMediaworkedcloselywithLinkinPark’sDJandcreativedirectorJosephHahnontheinitialconcept,pre-visualisationandmoodboards.Parvini,whoisalsoresponsibleforLinkinPark’spromotionalmusicvideos,elaborates:“WeworkedalongsideJoeforaboutfourmonthssolid,rebuildingtheshowfromthegroundup,developingtheoveralllookandfeelrightuptodefiningthemoodandtoneforthelighting.Fromtherewedeveloped18uniquepiecesofvideocontent,attimespullingassetsandvideo

US NU-METAL MEGA-STARS LINKIN PARK RECENTLY RETURNED TO HEAD-BANGING BASICS WITH THE BAND’S SOLD OUT EUROPEAN TOUR, THE HUNTING PARTY. A CAMPAIGN TO SUPPORT THE RELEASE OF THE BAND’S LATEST ALBUM OF THE SAME NAME, THE TOURING SHOW’S LOOK AND SOUND IS VISCERAL, TEXTURAL AND DEFIANT. SARAH RUSHTON-READ REPORTS FROM A VERY SWEATY MOSH PIT AT THE O2 ARENA, LONDON...

LINKIN PARK PERFORMTHE HUNTING PARTY TOUR

PRODUCTION PROFILE: Linkin Park

clips from some of the bands more recent music videos and at others generating the visuals from scratch.” Parvini and Hahn decided they wanted to abandon the mini music video style and take a more environmentally refl ective approach - treating the stage as a character. “Many of the fans have seen Linkin Park a number of times, so we wanted to bring a fresh look yet still be recognisable,” explained Parvini. “The band went to great pains to re-imagine their set list, creating medleys of songs where the music runs constantly. We wanted to maintain that

momentum with the content.” During this development period Michael Fullman and Vartan Tchekmedyian of VT Pro Design came on the scene and the role of Parvini and the team from Ghost Town shifted to that of transition team. “We ensured they had all the assets they required to realise Joe’s creative goal.” VT Pro then took over the lighting redesign and re-imagined the live video content styles and executions for the show. Fullman then engaged lighting designer and programmer, Scott Chmielewski of DMDS7UDIOS, to assist

in the realisation and together they launched a re-energised version of the visual elements, drawing from a fresh non-rock-and-roll perspective. “Our goal was to create a visual story arc that evolved throughout the performance, allowing each element to breathe as the show progressed,” explained Fullman. “Video content, staging and lighting all work seamlessly together and help to enhance the energy of the band and push that energy out to the audience.” Built around three on-stage platforms, (TAIT

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PRODUCTION PROFILE: Linkin Park

Opposite: PRG Supplied the tour’s incredible hanging video elements. Singer Chester Bennington with his Sennheiser e865 microphone. Below: Monitor Engineer, Kevin ‘Tater’ McCathy in front of his Sound Image-supplied DiGiCo SD7 console.

PRODUCTION PROFILE: Linkin Park

Below: TAIT Towers built the three on stage platforms of epic proportions; Tom Robb and Seth Fromberg, venue security; Four Martin Professional MAC Vipers positioned close to the stage were used as followspots, giving a dramatic theatrical feel to the show.

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Towers created the stage itself) the video is a three-dimensional element that at times fully encapsulates band members, boxing them in with semi-transparent video screens and at others sits at varying heights above the stage. These carry a combination of content from digitally treated I-MAG to pre-recorded video.  Digby, along with Video Director Skip Twitchell and Hahn, specified PRG Nocturne’s V-Thru. With 66% transparency, the screen 

offers a plethora of creative options. In addition PRG Nocturne’s V-28 LED video modules were secured to the front fascia of the band’s three risers.   “It was Joe Hahn who initially saw the potential,” says Skip Twitchell, who pilots a Panasonic AV-HS400A switcher during the show, alongside Video Engineer Jason 

‘Spikey’ Harvey. “Joe was fascinated by the transparency, so we put together this cube design with a rear and front surface, which surrounds Joe, the drum riser and an area in the middle of the stage. By manipulating content on the front and back, it can generate some fantastic 3D looks and effects.”  PRG Nocturne also provided four Ikegami (manned) cameras, which shoot in standard definition but are processed as 16:9. There are 

six unmanned GoPro cameras covering the risers and each set of instruments, with an extra one [manned] down in the pit to shoot right on top of the crowd when the band is on the barricade.  An interesting addition to this arsenal is a ‘K-Cam’ - an Xbox 360 USB connector camera that uses infrared as screen tech Jordan 

Goodfellow explained: “We built a programme with Quartz Composer to gain use of the camera outside of the Xbox domain. The programme enables us to control the type of information received, plus its colour and depth.”  To handle the extensive HD camera feeds and deliver them to the array of PRG Nocturne V-28 LED screens, VT Pro Design chose and spec’d two Avolites Ai Infinity Servers for redundancy.   “Skip Twitchell wanted to use multiple video inputs and mix them live,” explained Chmielewski. “In addition, every instrument that the band plays, including the DJ rig and the guitars, are sending some kind of signal across the system. We use these to trigger content, be it live camera, the unmanned GoPros and the X-Box Kinects or pre-existing media. I can also manipulate those images in real time, add effects and blend them together in layers.”  Fullman adds that he specified the Ai media server because of its ability to provide an accurate pre-visualisation solution as well as its ability to quickly and easily map screen formats and provide accurate timecode playback.

LIGHTSLighting brings an added layer of richness, scale, structure and perspective to the video elements of the show. Forming the backbone of the multi 

“Forming the backbone of the multi look generating lighting design are numerous arrays of Martin Professional MAC Vipers, Clay Paky Sharpy Washes and the new a.Leda B-EYEs and Solaris Flares.”

PRODUCTION PROFILE: Linkin Park

Below: Chmielewski chose Clay Paky B-EYEs as his ‘workhorse’ fixture. He stated: “They’re currently my favourite fixtures. The lack of moving parts makes them ideal to tour.”

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look generating lighting design are numerous arrays of Martin Professional MAC Vipers, Clay Paky Sharpy Washes and the new a.Leda B-EYEs and Solaris Flares. Black Box Music in Germany, where Linkin Park held their technical rehearsals, supplied the kit. Metcalfe’s design, modified for this tour by Fulman and Tchekmedyian, and realised by Chmielewski, was built around the number three - three risers, three moving screens. “Our

aim was to create contrast, with strong key lighting from the down stage truss,” explained Chmielewski. “We hung four Mac vipers and disabled the pan and tilt to use them as followspots, still controlling the fixtures output parameters from FOH.” The close proximity, dramatic effects and the steep angle of the spots bring a stark, edgy - almost theatrical look to the stage.

Sharpys were then used in banks of three for over audience aerial effects: “We put in two trusses up-stage that follow the prism look of the screens and force a strong sense of perspective,” explained Chmielewski. Clay Paky B-EYES were the workhorse fixture and although Chmielewski had the capability to pixel map these he chose not to, using them in individual pixel mode instead. “They’re currently my favourite fixtures. The lack of moving parts

makes them ideal to tour.” On the road with the tour is Lighting Operator William Anglin: “Linkin Park’s set has a touch of EDM, Heavy Metal, Rap and even theatrical points,” said Anglin. “I love some of the avant-garde lighting shows I’ve seen but the important thing with Linkin Park is feeding on the crowd energy. The energy of the show is in the crowd. If you can get that going the band

will feed on it. It’s served on a silver platter with this band. So, while it’s important to be artsy and moody at points, we don’t forget the basics.”

RIGGING AND AUTOMATIONEnsuring the moving elements fly without issue is automation and rigging specialist Chris Wilson: “When this campaign began in the US we used a Kinesys system. I’m a huge fan. When we moved into Europe we used the new generation of Cyberhoists. They’re amazing, really fast and really precise but there were challenges in changing hoist systems half way through a tour. We went quite wide with the hang so if we’re off just a fraction all the screens could be cock eyed or not fit together or go up and down. Luckily for me there were only 12 points where this could happen.” And when it came to safety, Wilson worked closely with Tour Director and Production Manager, Jim Digby: “Because of his close involvement with the Safety Alliance, Jim is a great support and he really trusts my judgement. This takes a lot of the personal burden away. If I see something that’s unsafe Jim always has my back. For example, if I turn in a rigging plot and the venue says we’re too heavy then it doesn’t escalate into an argument, we trust the building and we make another plan.”

“The energy of the show is in the crowd. If you can get that going the band will feed on it. It’s served on a silver platter with this band...” Lighting Operator, William Anglin.

PRODUCTION PROFILE: Linkin Park

Below: Ken ‘Pooch’ Van Druten, FOH Engineer; Paul White Monitor Assistant Wireless; All work and no play makes Seth Fromberg, Venue Security pull interesting faces; The dramatic look of the show gave the audience a sense of live rock ‘n’ roll theatre.

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SOUND ADVICEKen ‘Pooch’ Van Druten has been with Linkin Park for eight years and works intimately with the band. “We spent many hours in collaboration during extensive rehearsals for the tour. I have creative input into how the band should sound live and that is very satisfying.” The primary goal for Pooch is to deliver a record quality mix that has maximum impact in the live environment. To that end Pooch

works closely with system technician Victor Wagner: “We’re using a JBL PVTX A, which is a system I’ve toured with before,” said Wagner. “In addition Pooch and Monitor Engineer Kevin ‘Tater’ McCarthy were moving over to DiGiCo consoles for the first time, and because I specialise in setting up DiGiCo networks I was asked to join the team. Pooch is a big Waves fan so they needed a lot of inputs and outputs.

They also wanted to avoid the split and share the head amps.” Pooch is a keen observer of developments in pro-audio technology: “We want to achieve the best sound possible so I spend a lot of time keeping up with the industry. I go to trade shows like Musik Messe, NAMM, and AES on behalf of the band, looking for what is new and upcoming, so that on the next cycle we can implement it.”

All equipment is supplied to the tour by the touring division of US company Sound Image. “We’re using JBL’s VTX 25 PA, the latest, and in my opinion the best, PA that JBL has to offer. It’s amazing technology. There’s a new mid / high driver in the D2 Box. No other manufacturer has this driver; every other PA on the planet has some sort of high-end harmonic distortion or resonance that colours the top end. JBL’s driver

that is flat all the way out, and subsequently delivers the highest quality sound.” In addition, Crown Audio I-Tech amps have been specified, bringing plenty of headroom and keeping things super clear. “The VTX system is wired in performance mode, where the V25 are configured in two box circuits with amps circuits running at 8 Ohms, explained Wagner. “I had one to one ratio flown subs behind the V25’s. I found that with the flown subs crossed over 80 hertz, low frequency energy sums with the waveform coming off the V25’s, when they are time aligned properly it all comes together to gives plenty of low-mid warmth. For some people that’s hard to manage, however Pooch is really sensitive to that frequency range because of his studio background. There’s a certain tonal quality from 1- 3k that JBL compression drivers have. It’s kind of throaty and particularly suits distorted guitars, especially when you push the system.” Pooch is also determined that the best mix possible reaches every seat. “We want every person to walk out of a Linkin Park gig talking about how it was the best sounding show that they’ve been too. Some of the tools I use to achieve that are the Waves plug-in products, alongside the DiGiCo SD7 console. I believe the combination of the two things is the best front end mixing solution out there, both sonically,

“I go to trade shows like Musik Messe, NAMM, and AES on behalf of the band, looking for what is new and upcoming, so that on the next cycle we can implement it...” Ken ‘Pooch’ Van Druten, FOH Engineer

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PRODUCTION PROFILE: Linkin Park

Below: Sound Image supplied a JBL VTX 25 PA system for a consistent sound in the arena; Jim Digby, Director of Touring; The show view from FOH; Will Anglin, Lighting Director.

and in ease of use.” The toughest thing for Pooch, from a mix standpoint, is that Linkin Park has a large repertoire. “The band have been going a long time so the songs from their first few records are mostly guitar, bass and drums recordings. However the later records contain vast

soundscapes of synths and low-end information. Marrying those two worlds is the hardest thing I’ve to overcome. They have a tendency to play an old song right next to a newer song, and then back to an older song. Making sure that the old songs don’t sound ‘thin’ after a more recent, lush sounding song can be challenging. Again, the Waves SoundGrid and DiGiCo SD7 play a gigantic role in that.

Both Pooch and Tater wanted to get a 96k 24-bit resolution on all their inputs and outputs: “DiGiCo had the only system in place to do this, concludes Wagner. “We also wanted to have a high quality bit-rate for the recording so we can cut it out to a master. The Lake LM 44’s for matrix splitting and analogue fall back and

Crown amps, all run at 24 / 96. We’re looking at an entire network where there’s no sample rate conversion, no fidelity loss or colouration and minimal latency from input to output.” And on monitors Kevin ‘Tater’ McCarthy also recently switched to the DiGiCo SD7 and is delighted with the outcome: “It sounds amazing. The SD7 has all the features we need to meet the bands requirements: 128 inputs, 48

outputs, Waves enabled, 96k, and four MADI streams.” With Linkin Park, Tater has a lot going on: “We have 10 stereo mixes of In Ear Monitors (IEMs) for the five band members with three Matrix Mixes, Cue and Guest. For monitor wedges I have 10 mixes including stereo side fills, four pairs downstage, one upstage mix, a drum seat shaker, and a cue wedge.” In terms of how the band like their mix, Tater said: “Pretty much all the band members that are on IEMs like a full band mix with their vocals and or instrument on top. Guitar player Brad wears foam earplugs and gun muffs over the top. All the traditional speakers are really for him. He doesn’t like a loud stage, but he does want it really clear. I follow him wherever he is for all his cues.” Tater uses Shure PSM1000 transmitters and receivers with a Professional Wireless GX-8 combiner and a Wireless First Fractual antenna. IEMs are from JH Audio. JH-16’s (Chester and Mike) JH Audio Roxanne’s for the rest of the band. Adamson SX-18s for side fills and Adamson M12’s for the wedges, with Lab Gruppen PLM10000 amps. “I love the Shure IEM gear because I think it sounds good, and the Axient Spectrum Manager really makes it easy to do the frequency coordination,” he

“All staff members are encouraged to proactively engage in their role and to present ideas to improve practice at every turn...” Director of touring and Production Manager, Jim Digby.

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PRODUCTION PROFILE: Linkin Park

explained. “Plus the rechargeable batteries are awesome. Similar thing goes for the Adamson gear. The wedges are small, powerful, light, and very easy to hang on our grill decks under the stage.” Singer Chester Bennington uses a Sennheiser e865 mic for his main vocal duties.

POSITIVE PRODUCTIONLong-term Director of touring and Production Manager, Jim Digby, coolly governs back stage, production and logistics. “The band and the organisation behind it are a family-first enterprise,” stressed Digby. “They recognise that music touring is a business and requires a ‘home team’ that can provide stability.” This positive viewpoint extends to the vendors, suppliers and staff Digby chooses to work with: “Over the last decade we’ve had the pleasure of steadily building and fine-tuning our team. First and foremost we chose to work with people and vendors on the basis of safe practices, their ability to provide highly competent and functioning crew alongside well cared for equipment. Lastly, we strive to find enthusiastic partners in everything we do.” There’s no denying that this team is packed with boundless energy and enthusiasm: “As their leader, I can confidently say that no one on this team is micromanaged,” concluded

Digby. “All staff members are encouraged to proactively engage in their role and to present ideas to improve practice at every turn.” Linkin Park are a long-standing customer of event logistics specialists, EFM. The company handles all the band’s international shipping for both tours and the festival season. When the band were in Europe for the summer Festival run in May 2014, EFM handled their three 40ft containers from Los Angeles and a 40ft container from New York, in addition to the airfreight of their audio gear for the A rig. Linkin Park have three touring systems but the audio components are essential to all three of their rigs, so often have to be air freighted at short notice to wherever the next touring leg may be. On arrival in UK, the EFM crew split two rigs, the A rig went to Lisbon, Portugal, once the video had been pre-programmed at LH2 Studios, ready for the rest of their European shows, whilst the B rig went straight to Moscow. “Timeframes were extremely tight, so everyone had to work around the clock to get the equipment customs cleared and onto the waiting tour trucks. At the end of the Summer, everything was shipped back to LA and Miami, ready for the US tour, before returning once again back to Europe for the band’s autumn arena tour which began in October, following

pre-production work at Black Box Music in Berlin, also joined by an urgent airfreight shipment from Brazil,” explained EFM’s Lisa Ryan. Once the European tour ended, in November, EFM loaded out overnight straight from the final show at the 02 Arena into six 40ft containers which were shipped back to Miami again for the beginning of another US tour this month. Other suppliers include TransAm UK for trucking duties, Beat The Street for tour crew and artist bussing. Linkin Park continues to tour in the USA until 14th February 2015 and will be returning to Europe for festival dates throughout the summer.TPi

Photos: http://thefifthestate.co.ukand Scott Davies

www.linkinpark.com www.nocturneproductions.com

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