The Australian Pink Floyd Show UK 2022
January 9th 2023
22live has completed its first full production tour with arguably the greatest cover band on the road today. The Australian Pink Floyd Show provide a hugely authentic tribute to all things Gilmour and Waters, working hard to bring their show to venues within easy reach of audiences around the world, this time it was the UK that had the privilege of their presence.
The Australian Pink Floyd Show (Aussie Floyd) are one of the hardest working clients a rental company can ask for, and while their requirements are not straightforward to deliver, a successful touring package with them can be kept very well utilised and so it was important to Paul Timmins, 22live Founder and Hire Director, to ensure that 22live had an opportunity to offer its services to the production.
Timmins comments “Me and the Aussie Floyd go way back. I’ve worked with the team for many years and while I’ve been a supplier to them, I like to think that I act as part of the team. Because of that history, and the relationship I have with Kevin Hopgood, Trevor Gilligan and Chris Gadd in particular, to me the Aussie Floyd was always a key target to pursue in my new guise as 22live. Of course 22live needs an income, but this is more than that to me, it’s continuing my role as an extension of the production team and continuing to support my friends working on the road with the band.”
Aussie Floyd Audio team from L-R; Kevin Smith (Monitor engineer), Mark Edwards (System Technician) , John Arundel (PA Technician), Trevor Gilligan (FOH engineer), Simon Gladstone (22live)
Kevin Hopgood is now the Australian Pink Floyd’s Band Manager, having previously filled the role of Production Director, and has been with the band for more than 10 years. Trevor Gilligan has been FOH Sound Engineer for the last 10 years and was put forward for the role initially by Paul Timmins having worked together previously on acts such as Kasabian and Starsailor.
Chris Gadd now fills the roles of Tour Manager and Production Manager having worked with the band for 20 years. Gadd echoed Timmins sentiment to Stew Hume of TPi magazine, of how the touring party was particularly close-knit. “We often find that people stick with this show for a very long time and it’s really quite a close family.” An extension of this family in many ways has been Timmins, who used to supply the audio package for the team in his previous role. “I’ve personally known Paul for 40 years,” commented Hopgood who chuckled that Timmins gave him his first paid gig several decades ago.
Despite the ‘close knit’ relationship that Timmins holds with the Australian Pink Floyd Show production team, he still had to be confident that the time was right to make an approach to the group. Timmins comments “We had Sigur Rós control out the door, and we were aligning ourselves to deliver the European run for them, with the full production package. 22live, in June, had just taken delivery of its complete Martin Audio inventory and was starting to do dry-hire work. I knew that I could make an approach to The Aussie Floyd for the autumn run of UK shows, and felt that it was the right thing to do for 22live, but I had to be confident that it was within our capability considering we were still early in our development phase.”
In order to take the decision and commit to the show it was necessary for Timmins to consult with the 2 recently recruited director’s Stefan Phillips, Operations Director, and Simon Gladstone, Technical director. Timmins goes on “I sat down with Simon, and Stefan who had recently joined the team and we went over it…there were a number of topics to consider; How do we make the bid fit the bill for the tour? Would Trevor be happy to switch to a new brand of PA? Could we get the infrastructure together in time for the job? Etc.”
Paul Timmins
“There were a number of topics to consider; How do we make the bid fit the bill for the tour? Would Trevor be happy to switch to a new brand of PA? Could we get the infrastructure together in time for the job? Etc.”
Timmins continued “We knew the absolute key to delivery of the Australian Pink Floyd Show was the amount of space the kit would occupy on the truck. Keeping production costs down was essential to the success of our bid, and truck space is a key part of this.” The Australian Pink Floyd Show, unlike other touring bands, rely wholly on the success of their show to make it financially viable, for this reason they are focussed on packing a big show into a relatively small space. Timmins goes on “Actually this philosophy ties in well with how we hope to deliver all of our work going forwards, and what we have been working hard on in terms of our packaging and infrastructure, it is our goal to keep our systems as compact, flexible, modular and lightweight as is possible.”
With regard to the PA choice we knew that we couldn’t offer the tour in this scenario anything other than Martin Audio, as sub-hiring would not have worked in the circumstances. Timmins comments “I was confident that Trevor would be happy with the new Martin Audio Wavefront Precision, and actually I knew he had a lot of history using older Martin products, the only concern came from the fact that I also knew he was very happy with the PA they had used on the last tour, which wasn’t Martin!”
The discussion with Stefan and Simon progressed to a build schedule. Simon and Stefan had only just joined the company but they both had some innovative new ideas regarding line systems and packaging generally. Simon Gladstone comments “What we didn’t want to do was not allow ourselves enough time to build the packaging the way we wanted to do it. We had the ideas in principle, but taking a bespoke product from concept to reality is a task that I’m familiar with, and one I know can take some time.” Simon set about building Gantt charts, and schedules for everything that would need to be developed. The list was relatively long and included designing PCB’s and metalwork for all of the new concepts including; 16 channel stage remotes, 4U, 2U and 1U module housing for line system elements, 8 way returns boxes, 16 channel LK to D-SUB split boxes, Stage Mains Distros etc. etc. “Although tight, it was possible to deliver the package the way we wanted to.” Simon concluded.
Simon Gladstone
“Although tight, it was possible to deliver the package the way we wanted to.” Simon concluded. .”
Stefan went on “22live had already formed a relationship with Flightcase Warehouse for supply of the cases, and I had a clear vision for how we wanted to package using standard sizing for all inventory going forwards. We already had everything in the pipeline to deliver this job so from my perspective it was more about getting the job confirmed as early as possible, so we could start planning the labour, and buying the bits of kit we knew we’d need to get it all built.”
The new team at 22live therefore confirmed to Paul that this job was possible to deliver and that the first priority was to win it! Paul set about reaching out to the tour, and building a proposal for them. The proposal focussed on how the system was to be packaged, the quality of the infrastructure to be used, and the truck space that would be required. Timmins comments “In basic terms what we were aiming to build for the tour needed to offer an improvement over what they were using currently, while maintaining truck space.”
It was at this early stage that it also became apparent that both FOH engineer Trevor Gilligan and Monitor engineer Kevin Smith wanted to stick with the DiGiCo Quantum 5 consoles they were comfortable with. Timmins commented “I had wondered whether the engineers would want to consider moving to the Quantum 338, but it soon became clear that this wasn’t going to be an option mainly because there just wouldn’t have been an easy transition period, there would be no real time for the engineers to get hands on with a new console before the first show.”
DiGiCo Quantum 5
Monitor Engineer Kevin Smith
FOH Engineer Trevor Gilligan
Stefan Phillips
“We already had everything in the pipeline to deliver this job so from my perspective it was more about getting the job confirmed as early as possible, so we could start planning the labour, and buying the bits of kit we knew we’d need to get it all built.”
So now the only task for Timmins was to see if the Martin Audio system would be an acceptable solution for the team? “I think overall that Trevor was happy to try out something new, the thing that we really had to demonstrate to make the argument however, was that the Martin Audio SXCF118 (1 x 18” + 1 x 14” Cardioid) was enough of a sub to provide the low end the tour required.” To meet the requirements for the truck pack, and also to give the tour the flexibility for the venues they’d be visiting the SXCF118 ticked the required boxes in terms of size, weight and configuration options. It was decided the only method for proving its capability performance wise, was to put it to the test, and a demonstration was organised onsite at Martin Audio HQ in High Wycombe.
Trevor put his faith in the Australian Pink Floyd Show’s PA system technician, Mark Edwards, to be present at the demo alongside 22live personnel, Timmins comments “Both Trevor and Mark were very familiar with the Martin Audio SX218, and so it was quite easy to demonstrate the capability of the SXCF118 by using the 218 as the benchmark, and in fact the demo concluded with the SXCF118 coming out on top in terms of both performance and flexibility. It was at that this point I knew 22live were really in with a chance of getting this over the line.”
Paul Timmins
“It was at that this point I knew 22live were really in with a chance of getting this over the line.”
From there the conversation re Martin Audio became less about the system itself, and moved onto the software and back end. Martin Audio currently use their proprietary VU-NET software as their control management system for the Martin Audio IK42 amplifier, which is designed and built by Linea Research. Linea, had been recently acquired by Martin Audio parent company ‘Focusrite PLC,’ effectively bringing in house the Martin Audio amplifier platform and thus giving them complete control of the future development of both the associated hardware and software.
The concern for system technician Mark Edwards, was the Martin Audio system design software package which currently encompasses both Display 2 and Display 3. The roadmap for the software development of Display 3 means that soon you will be able to build a 3D venue model, do your system design and optimise the arrays all within this one package. However, as it stands today, you can use Display 2 for 2D modelling and system optimisation and then have the ability of integrating that data within Display 3, if you want to visualise the coverage in 3D. But that does mean building a 3D venue model (either via SketchUp application or using Display 3’s simple venue tools) and re-creating your system design to then import the optimised array data from Display 2.
Array optimisation, initially developed for the Martin Audio MLA System, is a unique component of the Wavefront Precision package enabling each array to be digitally optimised to its environment. The modelling software, Display 2, delivers an optimised configuration, based on the venue layout, system design and box resolution and is calculated by an algorithm which then communicates the optimised settings to VU-NET and therefore the amplifier platform.
It was very important to Mark and to the tour that the speed of deployment was not hampered by creating designs each day in both Display 3 and 2 for each venue. The Australian Pink Floyd tour is quite an intense programme and the UK tour, in late 2022 was no different, mainly visiting theatres and guild halls for one night only, and with a very busy schedule. It was easy to understand Mark’s concerns, however after discussion, training and with the ongoing support of Martin Audio concerns were put to rest and it was agreed that the Martin Audio system was the right tool for the job.
Kevin Hopgood put it simply when explaining the initial approach by Paul Timmins; “He explained to both me and Chris what he was working on with 22live and asked if he’d be able to quote for the European run for this show,” stated Hopgood. “Everyone has those companies they want to work with, but periodically it’s good to freshen things up and we were happy to take on 22live for this run.”
Paul Timmins added “It was a massive victory for myself, Stefan and Simon to have secured the tour, and we were very happy. We had actually already commenced much of the infrastructure build as we simply didn’t have the time to wait, but there were still a few holes to fill kit wise, namely in the shape of 2 x DiGiCo Q5! We were very excited though.”
From the point of confirmation everything started to come together quickly. Simon Gladstone explains in a little more detail some of the challenges he faced in the build. “All of the key parts to the line system were custom built from scratch. That means custom metalwork, and custom PCB’s. We wanted the whole line system to use PCB mounting connectors in all of our own proprietary boxes, the main reason for this is actually to improve reliability and to speed up the manufacturing process when you need to build more.”
Unlike other products Simon had built historically he also wanted to utilise RJ45 and CAT6 for connecting the PCB’s within the assemblies, meaning that the only solder required in a stage box was physically on the PCB itself to mount the connectors. He goes on “There are always curve balls when building bespoke systems from the ground up, drawings and reality are sometimes two different things, however we just deal with them.” He went on “The modular approach to the line system actually extends beyond the modular practicality of how you use the system, but also to how it is assembled. There are common parts or common modules that are accommodated across the various boxes which not only helps to keep costs down, but also actually gives you more redundancy on the road too, and you can carry spare and replaceable parts which is a first for line system.”
Simon Gladstone
“The modular approach to the line system actually extends beyond the modular practicality of how you use the system, but also to how it is assembled.”
Stefan Phillips started to make plans around building the system as a whole and comments “As we are a new start-up we haven’t exactly filled the shelves yet with all the useful things you need to get things done quickly day to day. Whether it’s just a big stock of rack bolts, a healthy supply of PVC tape or whatever, everything needs to be acquired and accumulated which does mean things have taken slightly longer than we are used to. We needed to buy a lot of pre-assembled XLR, NL4 as well as 16 channel LK’s, and every time we had a cable delivery we knew that we were looking down the barrel of a couple of days of labelling time! However none of this was a surprise, and although we didn’t have anyone to delegate this to it just meant we had to take our time and we enjoyed doing it. It’s been great getting stuck back into tasks that we all did in the early days of our careers, and actually it’s been far more enjoyable this time around!”
Simon Gladstone goes on “Once everything was built and we had all the bits in the right places, the biggest challenge was making sure the network was all configured correctly. It was quite a complex system as we had the 2 x DiGiCo Quantum 5’s sharing an SD-Rack. Mark Edwards had his own control rack which he was comfortable using, and we had to integrate this with hardware in our drive rack. Then we had all of the PA returns utilising Dante over fibre, with the Outline Newton being deployed as the main drive processor. We also incorporated the Green-Go comms system to the same network, so we designed and built quite a bespoke package to accommodate all of these things.” There were 2 quad fibres deployed between the master amp rack and the drive rack that carried DiGiCo Optocore A&B and Dante Primary and Secondary. There was then a further fibre link to Monitor world continuing the DiGiCo loop and extending the network to that area. Additionally we used a X-Stage Data link over CAT6 and had a full analogue redundant fall-over system in place.
The tour loaded out in mid-October to commence it’s 30 dates throughout October, November and early December. On the road the show was carrying in addition to the two DiGiCo Q5 mixing consoles, 32 x Martin Audio WPC (2 x 10”) line array, 18 x Martin Audio WPS (2 x 8”) line array, 16 x Martin Audio SXCF118 Cardioid Subwoofer, 6 x Martin Audio WPM (Lipfill) and 4 x Martin Audio TORUS T1215 (Infill/outfill). All speaker cable was done utilising a mix of both LK24 speaker multi’s and break-outs as well as NL8 and break-outs. 22live also provided Outboard LV6 motor controllers for the duration of the tour. The system proved to be a success out on the road.
Paul Timmins was very grateful to receive this first communication from Trevor following the first show; ‘what can I say, I love the system, for a first show and putting my mix straight into it I am very happy, it’s great to be back on the Martin gear, please pass that on… it's a very detailed box and matches the subs perfectly, all in all a great choice by all involved, I think 22 Live will be a great asset to the industry. Well done Paul.’
A further positive followed this up as the tour progressed with a great report on the SXCF118 subs ‘definitely made the right decision with the little subs, the bass guitar and low end of the drum kit is way more musical, Mark did a sub array last night in a big old theatre in Bath, it's normally a bit lumpy in there but last night was great, very solid and punchy.
Trevor Gilligan
“What can I say, I love the system, for a first show and putting my mix straight into it I am very happy, it’s great to be back on the Martin gear, please pass that on.”
As the tour concluded Mark Edwards, was able to offer his verdict on the 22live delivery with the Martin Audio PA; ‘Firstly I’d like to say a big thank you for your support and the package you provided. I’ll admit I was a bit nervous about changing supplier after the USA run with the short time window between tours, but you guys delivered to our spec with minimal effort on our part. The system performed flawlessly and was a pleasure to work with. I usually dread going to most of the venues on the UK run, but each day I left thinking “that was much easier than I remember”, and that’s down to the quick and easy deployment of your package.’
The only venue which required a bigger system was the Glasgow Hydro Arena. As this was much bigger than any other venue on the tour 22live topped the PA system up for this gig alone with an additional 24 x Martin Audio WPL (2 x 12”). This invoked the following response from FOH engineer Trevor; “We had a great night in the hydro, the PA worked perfectly, best mixing time I’ve had in there.”
Paul Timmins passed comment to the success of the Martin Audio system “The fact that we were able to move the production onto Martin Audio, and it delivered beyond both the engineer and technician’s expectation I think is a great sign that we made a good decision to back the brand, I’m confident there will be growing demand and opportunity for Wavefront Precision going forwards.’
Mark Edwards
“The system performed flawlessly and was a pleasure to work with. I usually dread going to most of the venues on the UK run, but each day I left thinking ‘that was much easier than I remember.’”
In Monitor world the tour carried Shure PSM1000 IEM, as well as 4 x d&b M4 Stage Monitors. Stage line system was distributed using 22live’s new in-house 16 channel stage remote boxes, and stage mains was also supplied with 22live matching stage mains boxes which utilise PowerCON TRU. In all it was a very well presented and very well received package that met all the requirements of the tour. Chris Gadd comments “Working with a smaller boutique company that has a personal touch is really important to us,” commending the support he and the team had been given by 22live for this run. “I believe there is still room for independent small companies with a more bespoke touch,” added Hopgood. “Especially as that is exactly how we run this tour.”
Paul Timmins summarises on the success of the Australian Pink Floyd run, “It has been absolutely fantastic to have had the opportunity to work with the guys again on this great tour. We hope this will be the start of a long partnership that will work well for both parties for years to come. The band already have more dates booked from February 2023 so we expect to be going back out with the Aussie Floyd again soon… Although this has only been our second proper job as 22live, it really felt like we moved it up a gear with this one too, having the whole backbone delivered how we wanted and with Simon and Stefan there throughout to keep the operation running smoothly. So in fact even though it was only the second tour, it felt like 22live had made another leap, becoming a mature service provider, and again demonstrating its competence to operate at a high level within the rental market place.
Paul Timmins