#tpi magazine

[dreamings-free]

okay but I love how 3+ years later Louis’ crew are still talking about how much Live From London meant to them during lockdown 🥹

“Live From London was great because the crew and I really needed it. It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

— John Delf to TPI Magazine 2023 (published 5/1/24)

[louisupdates]

‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

Louis Tomlinson’s Faith In The Future World Tour featured in TPI Magazine, 5.1.2023

Words: Jacob Waite

Photos: Justin De Souza and Oli Crump

www.louis-tomlinson.com

www.altour.com

www.beatthestreet.net

www.boxcat.studio

www.bpm-sfx.com

www.csecrosscom.co.uk

www.coloursound.com

www.hangman.co.uk

www.twosuns.agency

www.led-creative.co.uk

www.oxevents.co.uk

www.seven7.management

www.solotech.com

www.stardes.co.uk

www.tanck.co

TEXT

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Beat The Street video

[secondhand81625099]

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[krock54]

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[a7xbrazilianfans]

TPI magazine’s especial article about The Stage World Tour production crew and note about the 19 year old crew member who died in Stuttgart, Germany.

[a7xitalia]

Articolo sulla produzione del The Stage World Tour su TPI Magazine

Articolo sulla produzione del The Stage World Tour su TPI Magazine

TPI (Total Production International) Magazine è una rivista che tratta principalmente di design e tecnologia di eventi come concerti e festival. Nell’uscita di Marzo è presente un articolo dedicato alla troupe di produzione del The Stage World Tour e noi abbiamo deciso di riassumere l’articolo per voi. L’intervista fatta al Manager della produzione e tutti i collaboratori coinvolti è basata sulla…

[dugdale100]

Great article about our James Bay Global Livestream in TPi magazine

[pdwsolutions]

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[win-magazine]

UNI’s Lujan is new No. 1 at 184 in WIN’s Feb. 25 rankings

Photo: Northern Iowa’s Taylor Lujan, who defeated Iowa’s Abe Assad in this year’s Midlands, has taken over the top spot at 184 pounds in WIN’s Feb. 25 rankings. (Ginger Robinson photo).

NEWTON, Iowa — Northern Iowa senior Taylor Lujan has taken over the top spot at 184 pounds in WIN Magazine’s Feb. 25 rankings, presented by Cliff Keen Athletic.

Lujan, who was a three-time national qualifier at 174 pounds before this year, moved into the top spot in this week’s national rankings after Arizona State’s two-time defending national champion Zahid Valencia was suspended indefinitely and Virginia Tech’s Hunter Bolen lost last weekend.

Meanwhile in the team rankings, Iowa (13-0) earned the top ranking in WIN’s final Team Dual ratings and the Hawkeyes maintained their lead in WIN’s Tournament Power Index. The Hawkeyes feature 10 ranked wrestlers, nine in the Top 8 of their weight class and three No. 1-rated wrestlers: Spencer Lee (125), Pat Lugo (149) and Michael Kemerer (174).

Penn State (12-2) remained the No. 2-rated team in both the Team Dual rankings and TPI (85). The Nittany Lions, which have won the past four NCAA titles, feature eight ranked wrestlers, five in the Top 8 and two No. 1-rated wrestlers: Nick Lee (141) and Vincenzo Joseph (165).

The remaining Top-5 duals team are No. 3 NC State (15-0), No. 4 Nebraska (11-3) and No. 5 Ohio State (10-4). In WIN’s TPI, the other Top 5 schools are No. 3 Ohio State (58 points), No. 4 Wisconsin (46) and No. 5 Princeton.

WIN’s TPI is a prediction of where teams could finish in the 2020 NCAA Division I Championships, March 19-21, in Minneapolis, and is based on teams’ individual rankings and predictions to where wrestlers might place at the NCAAs.

WIN’s TPI point totals are broken down by the following individual rankings: 1st – 20 (16 AA points + 4 advancement points); 2nd – 16 (12+4); 3rd – 13.5 (10+3.5); 4th – 12.5 (9+3.5); 5th – 10 (7+3); 6th – 9 (6+3); 7th – 6.5 (4+2.5); 8th – 5.5 (3+2.5). Additional points for other rankings include: 9th/12th – 2; 13th/16th – 1.5; 17th-20th – 1. TPI points will be lower than the final actual NCAA tournament points because it does not include bonus points.

The remaining top-ranked wrestlers are Wisconsin’s Seth Gross (133), Northwestern’s Ryan Deakin (157), Ohio State’s Kollin Moore (197) and Minnesota heavyweight Gable Steveson.

With the end of the regular season, programs will now focus on one of seven conference or national-qualifying tournaments that will eventually send 330 wrestlers to the NCAA tournament.

The following are dates and locations for those tournaments:

ACCMarch 8Pittsburgh, Pa.

Big TenMarch 7-8Piscataway, N.J.

Big 12March 7-8Tulsa, Okla.

EIWAMarch 6-7Bethlehem, Pa.

MACMarch 7-8DeKalb, Ill.

Pac-12March 7Palo Alto, Calif.

SoConMarch 8Boone, N.C.

WIN Magazine’s Final 2019-20 Dual Team Rankings

RkSchoolW-LPrev.

1.Iowa13-01st

2.Penn State12-22nd

3.NC State15-03rd

4.Nebraska11-34th

5.Ohio State10-45th

6.Oklahoma State13-38th

7.Lehigh12-313th

8.Arizona State15-27th

9.Pittsburgh10-410th

10.Virginia Tech11-36th

11.North Carolina14-39th

12.Wisconsin11-611th

13.Minnesota9-812th

14.Purdue12-514th

15.Missouri12-715th

16.Princeton9-417th

17.Iowa State10-525th

18.Northern Iowa8-418th

19.Army West Point10-319th

20.North Dakota State10-416th

21.Illinois11-421st

22.South Dakota State12-620th

23.Cornell11-722nd

24.Michigan7-623rd

25.Campbell11-224th

WIN Magazine’s Feb. 25, 2020 Tournament Power Index

RankSchoolTotal RankedTop 8 RankedTPI Pts

1.Iowa109136.5

2.Penn State8585

3.Ohio State6458

4.Wisconsin5346

5.Princeton4445

6t.Nebraska9443

6t.Oklahoma State9343

8.Lehigh5540

9.Northern Iowa6237

10.Northwestern4236.5

11.Minnesota5336

12.NC State6235

13.Purdue5434.5

14.Iowa State6227.5

15t.Arizona State6326

15t.Virginia3226

17.Stanford3225.5

18.Cornell3224

19.Pitt5223

20.Michigan5121.5

21.Utah Valley3220

22.Central Michigan4218.5

23.Oklahoma5118

24.North Carolina3116.5

25.West Virginia1116

26.Missouri2114.5

27t.Binghamton2114

27t.South Dakota State3214

29t.Campbell5111.5

29t.Rider2111.5

31.Illinois319.5

32.Army607.5

33t.Navy115.5

33t.Wyoming405.5

35t.Lock Haven305

35t.North Dakota State305

37t.American U.304

37t.Clarion204

37t.Penn304

37t.Rutgers304

41.Harvard203.5

42t.Michigan State203

42t.Northern Colorado203

42t.Old Dominion203

45t.Appalachian State101.5

45t.Bucknell101.5

45t.Buffalo101.5

45t.Cal Poly101.5

45t.Fresno State101.5

45t.George Mason101.5

45t.Indiana101.5

45t.Northern Illinois101.5

45t.Ohio101.5

45t.Oregon State101.5

55t.Cleveland State101

55t.Drexel101

55t.Edinboro101

55t.Kent State101

WIN Magazine’s Feb. 25, 2020 Individual Rankings

125 pounds

Wt/Rk  Name   School   Yr  Prev

1.Spencer LeeIowaJr.1st

2.Jack MuellerVirginiaSr.2nd

3.Pat GloryPrincetonSo.3rd

4.Nick PiccininniOklahoma StateSr.4th

5.Brandon PaetzellLehighJr.5th

6.Devin SchroderPurdueJr.6th

7.Drew HildebrandtCentral MichiganJr.7th

8.Brandon CourtneyArizona StateSo.8th

9.Michael ColaioccoPennFr.9th

10.Luke WernerLock HavenJr.10th

11.Patrick McKeeMinnesotaRS Fr.11th

12.Michael DeAugustinoNorthwesternRS Fr.12th

13.Jay SchwarmNorthern IowaSr.13th

14.Alex MackallIowa StateJr.14th

15.Cage CurryAmericanJr.15th

16.Liam CroninIndianaRSFr.17th

17.Trey ChalifouxArmySr.NR

18.Jakob CamachoNC StateRSFr.19th

19.Jack MedleyMichiganJr.NR

20.Killian CardinaleOld DominionSo.NR

133 pounds                                              

Wt/Rk  Name   School   Yr   Prev

1.Seth GrossWisconsinGr.1st

2.Roman Bravo-YoungPenn StateSo.2nd

3.Austin DeSantoIowaJr.3rd

4.Sebastian RiveraNorthwesternJr.4th

5.Charles TuckerCornellSr.5th

6.Micky PhillippiPittSo.6th

7.Travis PiotrowskiIllinoisSr.7th

8.Noah GonserCampbellSr.8th

9.Sammy AlvarezRutgersFr.10th

10.Montorie BridgesWyomingJr.11th

11.Ridge LovettNebraskaFr.12th

12.Taylor LaMontUtah ValleyJr.13th

13.Zack TrampeBinghamtonSo9th

14.Cam SykoraNorth Dakota StateSr.14th

15.Devan TurnerOregon StateJr.15th

16.Derek SpannBuffaloJr.17th

17.Anthony MadrigalOklahomaSo.18th

18.Reece WitcraftOklahoma StateFr.19th

19.Tim RooneyKent StateSr.NR

20.T.J. FehlmanLock HavenSr.NR

141 pounds

Wt/Rk  Name   School   Yr   Prev

1.Nick LeePenn StateJr.1st

2Luke PletcherOhio StateSr.2nd

3.Real WoodsStanfordRSFr.3rd

4.Dom DemasOklahomaSo.4th

5.Chad RedNebraskaJr.6th

6.Max MurinIowaSo.5th

7.Ian ParkerIowa StateJr.8th

8.Mitch McKeeMinnesotaSr.9th

9.Mitch MooreVirginia TechSo.11th

10.Kyle ShoopLock HavenSr.10th

11.Tariq WilsonNC StateJr.12th

12.Michael BlockhusNorthern IowaRSFr.13th

13.Tristan MoranWisconsinSr.7th

14.Joshua HeilCampbellJr.14th

15.Dusty HoneOklahoma StateJr.15th

16.Shakur LaneyOhioSr.16th

17.Doug ZapfPennSo.17th

18.Dresden SimonCentral MichiganSo.18th

19.Zach ShermanNorth CarolinaSo.19th

20.Evan CheekCleveland StateSr.20th

149 pounds          

Wt/Rk  Name   School   Yr   Prev

1.Pat LugoIowaSr.1st

2.Boo LewallenOklahoma StateJr.2nd

3.Austin O’ConnorNorth CarolinaSo.3rd

4.Brock MaullerMissouriSo.4th

5.Sammy SassoOhio StateRSFr.5th

6.Matt KolodzikPrincetonSr.6th

7.Brayton LeeMinnesotaRSFr.7th

8.Henry PohlmeyerSouth Dakota StateSr.8th

9.Max ThomsenNorthern IowaSr.9th

10.Jarrett DegenIowa StateJr.10th

11.Andrew AlirezNorthern ColoradoFr.11th

12.Brock ZacherlClarionSr.12th

13.Colston DiBlasiGeorge MasonSr.16th

14.Kanen StorrMichiganJr.14th

15.Jarod VerkleerenPenn StateSo.NR

16.John MilnerAppalachian StateSo.17th

17.Brent MooreVirginia TechSo.15th

18.Kizhan ClarkeAmerican U.Jr.13th

19.Collin PurintonNebraskaSr.19th

20.Griffin ParriottPurdueJr.20th

157 pounds          

Wt/Rk  Name   School   Yr   Prev

1.Ryan DeakinNorthwesternJr.1st

2.Hayden HidlayNC StateJr.2nd

3.David CarrIowa StateRSFr.3rd

4.Quincey MondayPrincetonSo.5th

5.Jesse DellavecchiaRiderSr.7th

6.Kaleb YoungIowaJr.4th

7.Kendall ColemanPurdueRSFr.6th

8.Josh HumphreysLehighSo.8th

9.Markus HartmanArmySo.9th

10.Jarrett JacquesMissouriSo.10th

11.Will LewanMichiganRSFr.11th

12.Larry EarlyOld DominionSr.12th

13.Jacori TeemerArizona StateRSFr.NR

14.Wyatt SheetsOklahoma StateSo.19th

15.Jared FranekNorth Dakota StateRSFr.13th

16.Peyton RobbNebraskaRSFr.17th

17.Justin ThomasOklahomaJr.20th

18.Logan ParksCentral MichiganSr.NR

19.Anthony ArtalonaPennSo.NR

20.Jake TuckerMichigan StateJr.16th

165 pounds                                              

Wt/Rk  Name   School   Yr   Prev

1.Vincenzo JosephPenn StateSr.1st

2.Alex MarinelliIowaJr.2nd

3.Evan WickWisconsinJr.3rd

4.Isaiah WhiteNebraskaSr.4th

5.Shane GriffithStanfordRSFr.5th

6.Josh ShieldsArizona StateSr.6th

7.Travis WittlakeOklahoma StateRSFr.7th

8.Tanner SkidgelNavyJr.8th

9.Andrew FogartyNorth Dakota StateSr.9th

10.Kennedy MondayNorth CarolinaJr.10th

11.David McFaddenVirginia TechSr.11th

12.Ethan SmithOhio StateSo.12th

13.Philip ConigliaroHarvardFr.13th

14.Zach HartmanBucknellSo.14th

15.Danny BraunagelIllinoisFr.15th

16.Thomas BullardNC StateJr.16th

17.Quentin PerezCampbellJr.17th

18.Ebed JarrellDrexelSr.18th

19.Jake WentzellPittJr.19th

20.Cael McCormickArmySr.20th

174 pounds

Wt/Rk  Name   School   Yr   Prev

1.Michael KemererIowaSr.1st

2.Mark HallPenn StateSr.2nd

3.Jordan KutlerLehighSr.3rd

4.Dylan LydyPurdueSr.4th

5.Bryce SteiertNorthern IowaSr.6th

6.Kaleb RomeroOhio StateSo.7th

7.Mikey LabriolaNebraskaSo.5th

8.Kimball BastianUtah ValleySr.8th

9.Devin SkatzkaMinnesotaSr.11th

10.Anthony ValenciaArizona StateSr.10th

11.Sam ColbrayIowa StateJr.12th

12.Anthony MantanonaOklahomaSo.16th

13.Joey GuntherIllinoisSr.15th

14.Ben HarveyArmySr.9th

15.Hayden HastingsWyomingSo.14th

16.Brandon WomackCornellSr.18th

17.Joe SmithOklahoma StateSr.13th

18.Jacob OliverEdinboroSo.19th

19.Gregg HarveyPittJr.20th

20.Daniel BullardNC StateJr.NR

184 pounds                                  

Wt/Rk  Name   School   Yr   Prev

1.Taylor LujanNorthern IowaSr.3rd

2.Hunter BolenVirginia TechSo.2nd

3.Trent HidlayNC StateRSFr.4th

4.Lou DePrezBinghamtonSo.5th

5.Nino BonaccorsiPittSo.6th

6.Aaron BrooksPenn StateFr.7th

7.Zach CarlsonSouth Dakota StateSr.8th

8.Chris WeilerLehighJr.9th

9.Cameron CaffeyMichigan StateSo.10th

10.Anthony MontalvoOklahoma StateRSFr.14th

11.Abe AssadIowaFr.11th

12.Johnny SebastianWisconsinSr.12th

13.Tanner HarveyAmerican U.Jr.13th

14.Andrew MorganCampbellSr.15th

15.Taylor VenzNebraskaJr.16th

16.Brit WilsonNorthern IllinoisSo.17th

17.Jelani EmbreeMichiganSo.19th

18.Noah StewartArmyJr.20th

19.Billy JanzerRutgersFr.NR

20.Rocky JordanOhio StateRSFr.NR

197 pounds

Wt/Rk  Name   School   Yr   Prev

1.Kollin MooreOhio StateSr.1st

2.Noah AdamsWest VirginiaSo.2nd

3.Jacob WarnerIowaSo.4th

4.Ben DarmstadtCornellJr.5th

5.Patrick BruckiPrincetonJr.3rd

6.Jay AielloVirginiaJr.6th

7.Eric SchultzNebraskaJr.7th

8.Christian BrunnerPurdueSr.8th

9.Tanner SloanSouth Dakota StateRSFr.9th

10.Greg BulsakClarionJr.10th

11.Lucas DavisonNorthwesternRSFr.11th

12.Nathan TraxlerStanfordJr.12th

13.Kordell NorfleetArizona StateJr.13th

14.Thomas LaneCal PolySr.14th

15.Jake WoodleyOklahomaSo.15th

16.Ethan LairdRiderJr.16th

17.Dakota GeerOklahoma StateJr.17th

18.Stephen BuchananWyomingFr.18th

19.Jordan PaganoRutgersSr.20th

20.Shakur RasheedPenn StateSr.19th

Heavyweight

Wt/Rk  Name   School   Yr   Prev

1.Gable StevesonMinnesotaSo.1st

2.Mason ParrisMichiganSo.2nd

3.Anthony CassioppiIowaRSFr.3rd

4.Tate OrndorffUtah ValleySo.4th

5.Matt StencelCentral MichiganJr.5th

6.Trent HillgerWisconsinSo.6th

7.Tanner HallArizona StateGr.8th

8.Jordan WoodLehighJr.7th

9.Yaraslau SlavikouskiHarvardFr.9th

10.Jere HeinoCampbellJr.10th

11.Demetrius ThomasPittSr.11th

12.Gannon GremmelIowa StateJr.12th

13.Carter IsleyNorthern IowaJr.13th

14.Josh HokitFresno StateSr.14th

15.David JensenNebraskaSr.15th

16.Seth NevillsPenn StateFr.16th

17.Ben SullivanArmySo.17th

18.Brian AndrewsWyomingJr.18th

19.Dalton RobertsonNorthern ColoradoJr.19th

20.Quinn MillerVirginiaSo.20th

[dreamings-free]

‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

------

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

[louisupdates]

Text of TPI Magazine article describing the technical / bts aspects of Louis Tomlinson’s Faith In The Future World Tour.

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[atomheartmagazine]

New Post has been published on Atom Heart Magazine

New Post has been published on http://atomheartmagazine.com/ballando-con-le-stelle-morgan-nuovo-concorrente/24818

Morgan nuovo concorrente di Ballando con le Stelle?

Morgan potrebbe essere il primo concorrente ufficiale della nuova edizione di “Ballando con le Stelle”, al via il prossimo 16 ottobre su Rai Uno condotto da Milly Carlucci.

Morgan è il primo nome tra i concorrenti della prossima edizione di “Ballando con le Stelle”. Questo è quanto riferito da TPI, che dà come praticamente certa la presenza dell’artista milanese nel cast dello show di Milly Carlucci in onda su Rai Uno.

Negli scorsi giorni, Morgan avrebbe incontrato la produzione trovando un accordo. Qualora dovesse essere confermato, non sarà la prima presenza di Morgan a “Ballando con le Stelle”. Nel 2017, infatti, era stato ospite della Carlucci come “ballerino per una notte”.

Sarà però la prima volta in assoluto in cui prenderà parte a un talent come concorrente e non come coach o giudice, dopo sette anni di X Factor, Amici nel 2017 e The Voice of Italy nel 2019.

Morgan concorrente – Quando inizia Ballando con le stelle 2021

La prossima edizione di Ballando con le stelle dovrebbe prendere il via ad inizio ottobre 2021. La data scelta dovrebbe essere quella del 16 ottobre 2021. Ancora, però, non c’è nulla di ufficiale.

[otiss131]

Using Golf Swing Training Aids To Improve Your Golf Game

In the tips you will see a few health tips suitable for anyone retiring and is concerned about keeping active. When we do retire after our working life, it will be a relief to spend some time at home without the anxiety of commuting to our workplace; and also its particular great not to ever have to start anymore. But what should we do bash honeymoon associated with time being free from work? First we will search for health and fitness tips, maybe health magazines actually health related articles just like it.

I have given basically some web sites what transpires from growing old. It is now time to talk about how regular slow it down at the same time a sense reverse getting older.

The first tip that help you is coaching. It's important that you strength train. Not only will it help you with your fitness level, but it'll also an individual with your golf world of golf. It'll help you increase electricity and endurance. And this can mean a lot when you're trying strengthen.

Increase your core vividness. Your core may be the area for the body via chest for the knees. The the area where you generate of one's stability, strength, and power used in the golf playing TPI Certified Golf Fitness Instructor. A few stomach crunches just won't work. Doing exercises on a 60 minute of those big Swiss balls won't do it either. Have to have to train the core while on your nails. You don't play golf laying do owners?

First question, why are these muscles so important to golf? Before we answer that question, let's understand this region for the body in a little more detail.

One knows the kind we speak of, that's right, the particular kind of DVD which will let conscious how to develop ball go far, have it places it's rarely been facing. And maybe if your lucky after watching this DVD your ball may even go certain special hole you've always dreamed than it going into in one fair sway. The one and only, mother regarding holes, the opening in one is what we speak of most.

My tip here is always to go as well as get for aid from someone who knows what yet doing. On the golfer's case, have a chat jointly with your club specialist. Why go on for weeks battling along with a problem you've that no mater simply how much you practise you can not seem conquer. Don't be stubborn and also drive yourself crazy. The club professional will happily and quickly analyse predicament and set you on a right road! So if you're struggling, you shouldn't be shy about asking for lessons. Rest assured that all of the great players have tutorials. Even Mr Padraig harrington has someone helping him with his game suitable now. He is not stubborn or too proud to inquire about help and when he is the very player in the world.

A little bit a day spent on the golf fitness and flexibility program will not only an individual to maintain your fitness for golf an individual most likely will get back golf the actual planet spring with a better body than required when you left the overall game.

[breakingnewsalert1]

Beretta Grows APX Pistol Line with Target, RDO, FDE Models

The new APX models include the gray-framed APX Target, (center), as well as APX Centurion-length RDO and Combat models (top right), Compact/Centurion FDE models (bottom) and the APX Carry slimline (top left.) (All Photos: Chris Eger/Guns.com)

Beretta showed off several new APX series of chassis-based modular handguns this month, all of which are headed to the consumer market. The growing line of striker-fired polymer-framed handguns, available in 9x19mm and .40 S&W, were unveiled at Beretta’s Pistol Summit in Virginia last week and Guns.com was there to get the details.

The all-new APX Target, a long-slide competition-oriented handgun, sports a 4.7-inch pre-tensioned barrel, compared to the standard model’s 4.25-inch barrel. Erik Stern, Product Manager at Beretta’s Pro Shop, told Guns.com that in their in-house testing such a barrel yielded a 20 to 30 percent accuracy improvement. The APX Target also features an improved fire control module with a lighter trigger as well as factory extended magazine release and extended slide stop. The frame is what Beretta calls a “Wolf Gray” and is sans finger grooves with a black backstrap.

“It’s a lot easier to shoot faster and shoot well,” said Stern of the new APX Target.

Red dot ready, the Target ships with factory fiber optic sights. The accurized APX interfaces with just about every red dot and includes adapters for RMR, Cmore, Deltapoint Pro, and the Burris Fast Fire while Aimpoint Acro plates are coming. With a late-August availability. the Target ships with four 17-round mags while 21-rounders are offered. MSRP is $875.

“It’s the most accurate APX we’ve ever built,” said Stern.

Another APX line extension is the Centurion-length RDO with a 3.7-inch barrel and the same optic-capability as the Target and existing RDO models. When the red dot is not mounted, the sleek APX profile can be maintained with an included blank plate to provide a smooth surface on the slide top. MSRP is $725 and it ships with two 15-round magazines.

The APX Centurion Combat is essentially the Centurion APX RDO with a factory standard 1/2×28 TPI threaded barrel. It is also a new catalog item.

The suppressor-ready APX Centurion Combat at play. Of note, Beretta owns Burris and Steiner.

Also announced are the APX Centurion (5.19-inches high) and APX Compact (4.5-inches high) in an FDE finish with 15- and 13-round mags, respectively. Beretta introduced a factory FDE option to their Full-Sized APX models earlier this year, which proved to be a hit.

Apparently, everyone loves that flat dark earth. Note the grip-length difference in the APX Centurion, top right, with the APX Compact, top left.

Beretta introduced their single-stack APX Carry in April. It ships with two magazines– one extended eight-round and one six-round with a pinky extension — plus one flush baseplate. Due to its size, it lacks an accessory rail, but its overall length is just 5.63-inches. Weight is 20-ounces, unloaded. As far as 9x19mm handguns go, it is one of the smallest on the market.

The Beretta APX Carry is a single-stack with options

Except for the APX Target, which is still a month or so away from a ship date, the rest of the new APX models are in stock at Beretta and on their way to dealers and distributors.

To check out our great line of Beretta handguns, you are just one click away.

The post Beretta Grows APX Pistol Line with Target, RDO, FDE Models appeared first on Guns.com.

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[williamdbellb]

SALUS extends underfloor heating controls…

Visit: www.salus-tech.com for more information

In a bid to capture one of the fastest growing sectors of the UK heating market, SALUS has extended its range of underfloor heating (UFH) controls.

Incorporating the design and technical vision for which SALUS is renowned, the new line-up boasts three wireless thermostats that are suitable for both wet and electric systems, and deliver optimum performance with ease of operation and installation. These new RF ZigBee Surface Mount Battery thermostats are designed to provide a primary UFH solution or an extension to an existing heating system, and are suitable for a variety of underfloor system requirements. Thanks to TPI (Time Proportional & Integral) ‘self-learning’ functionality, the new line-up offers more precise heating control with increased comfort and improved energy efficiency.

For the more technologically advanced users, each model offers the option of connecting to a SALUS universal gateway to enable remote control by smartphone, tablet or PC via the SALUS App. They can even be integrated with the SALUS Smart Home suite of products to create a truly smart home.

The appeal for installers lies in their quick and easy fitting that does not require additional wire runs.

Dean Jepson, European managing director, said: “Given the prospects for continued growth of UFH in the UK, and the continuing trend towards open-plan home design which favours its use, we are confident that this range will be hugely successful.

“As befits the SALUS philosophy, these latest models are feature packed, price competitive, and maintain simplicity for the user and installer alike.”

While the HTR-RF (20) comes complete with a straightforward traditional dial faced unit, and offers a simple solution for users who want minimum intervention in the system, the stylish HTRS-RF (30) model targets users who prefer precise control of individual room temperatures. It also features present override temperatures and an optional floor sensor.

Meanwhile, HTRP-RF (50) boasts an easy-to-read LCD display, and is perfect for users who want complete control of their UFH system. Time and heat schedules are fully programmable to optimise control and minimise energy usage, with preconfigured sets also available. In addition to its underfloor use, this model also acts as a cost-effective thermostat for the SALUS Smart Home system in standard radiator based systems.

All models can be used as room thermostat in a system with other programmable SALUS thermostats, and carry an improved ErP rating which means higher efficiency and reduced running costs.

The post SALUS extends underfloor heating controls… appeared first on Heating & Plumbing Monthly Magazine (HPM).

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[pdwsolutions]

MCR AR-15 Belt-Feed Upper Receiver Auto 16.25'' 1913 Nit Key Features • Drop-On Upper Receiver Assembly that upgrades your AR15/M16/M4 type lower receivers or rifles • 5.56 x 45mm NATO • 7.2 lbs • 16.25” Quick-Change Barrel • 1:7” RHT, ½”-28 TPI & Chrome-Lined Barrel • Short-Stroke Gas Piston Operation • Dual Feed – Accepts ALL AR15/M16 Magazines & M27 Linked Ammunition • Precision Machined 7075-T6 Billet Upper Receiver, Feed Cover & Charging Handle • Precision Machined Billet Steel Feed Tray • Finish – Manganese Phosphate & Type III, Class 2 Hardcoat anodize - Black • Full-Auto Bolt Carrier • Hanguard Style – MIL-STD Rail 1913 3, 6, 9, 12 positions • Quick-Change Barrel Handle • Front & Rear Adjustable Sight Set • Ships with (100) M27 Links, Bolt Catch, Carbine Stock Spacer, Main Action Spring & Operator’s Manual • Made In USA https://www.instagram.com/p/B6ocpAgFjEl/?igshid=1c3uah7dvbtmy