LINKIN PARK PERFORM THE HUNTING PARTY TOUR

PRODUCTION PROFILE: Linkin Park
LINKIN PARK PERFORM
THE HUNTING PARTY TOUR
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...
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.
Video colludes with stark, edgy angular
beams that combine to deliver everything
from stinging explosions of stage-wide
blinders to intimate low-lit tableaus,
masterfully echoing Linkin Park’s richly
layered sound, packed as ever with bassy
synth-scapes, breakneck drumming,
aggressive, fast-fingered guitar riffs and
deliciously confrontational lyrics.
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VISUALS
A key element of the show design, which is
based on previous designs by Tour Director
and Production Manager Jim Digby and
Lighting Designer Oli Metcalfe, is the visuals.
Video Director and Content Producer
Brandon Parvini of LA based Ghost Town
Media worked closely with Linkin Park’s DJ
and creative director Joseph Hahn on the
initial concept, pre-visualisation and mood
boards. Parvini, who is also responsible for
Linkin Park’s promotional music videos,
elaborates: “We worked alongside Joe for
about four months solid, rebuilding the
show from the ground up, developing the
overall look and feel right up to defining the
mood and tone for the lighting. From there
we developed 18 unique pieces of video
content, at times pulling assets and video
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.
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 reflective 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
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.
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
‘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
“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.”
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
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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.
LIGHTS
Lighting brings an added layer of richness, scale,
structure and perspective to the video elements
of the show. Forming the backbone of the multi
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.”
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
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
“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.
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.
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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 AUTOMATION
Ensuring 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.”
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.
SOUND ADVICE
Ken ‘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
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.”
“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
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.
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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 lowmid 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,
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
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
“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.
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.
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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
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 PRODUCTION
Long-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 finetuning 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.uk
and Scott Davies
www.linkinpark.com
www.nocturneproductions.com
www.sound-image.com
www.black-box-music.de
www.beatthestreet.net
www.transamtruck.com
www.taittowers.com
www.efm-worldwide.com
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