Riding high on the phenomenal success of their fifth album “Dead Letters”, the energetic 4-piece, formed 10 years ago whilst they were at school, are capitalising on their rapidly growing popularity in all European territories. The tour visits a wide variety of venues – from 800 to 3000 capacity – and is completely sold out.
Photo caption: Left of photo is Rasmus lighting designer Mikko Enäkoski, and right is Satis & Fy’s Marc Lorenz.
Lighting designer Mikko Enäkoski has worked with Rasmus for the past 5 years, and has seen the production budget increase steadily with the band’s success. For this leg of the tour, he wanted to create a high visual WOW factor, and so chose Robe fixtures as the core effects lights for his high impact lightshow.
Enäkoski decided to use the Spot 1200s – the first time he’s used Robe product – following a visit to the spectacular Robe Show Lighting stand at the PLASA 2003 exhibition with Rasmus lead singer Lauri. They met the Robe team, and were impressed with the stand, the fixtures and Robe’s attitude, so Enäkoski felt confident in specifying the fixtures for the tour.
The 16 Spot 1200’s were supplied to Satis & Fy Live Entertainment & Touring Support, the German lighting rental house servicing the tour, by Robe’s German distributor LMP.
With two massive hits in Germany under their belt, it was vital to ensure maximum visual impact for the band.
Enäkoski placed ten Robe fixtures on the rear truss, four on top of vertical truss towers onstage and two on the downstage edges of the stage. The Rasmus live show is an exciting amalgam of pure, full-tilt rocky energy on one hand, and intense moody reflection on the other … so there’s plenty of dramatic scope for lighting.
He loves the brightness and fast strobing and movement capabilities of the Spot 1200s, commenting that their robustness has also been “Most impressive” having withstood the rigours of touring without any problems. He also uses the 1200s to produce richly saturated colour washes, and some very cool, subtle gobo-and-prism combinations which add texturing and another – almost imperceptible – dimension to the stage.
From the technician’s viewpoint, Satis & Fry Fy crew chief Marc Lorenz is also very pleased with the ColorSpot 1200s as they have performed well and proved low maintenance. “The zoom is excellent and the 16-but bit resolution ensures very smooth movement” he says, adding that fast programming is aided by the CMYK CMYO macro channel with 64 propre-programmed colours, including an excellent deep red.
Lorenz also finds the easy-to-read LCD displays on the back of the bases an asset for fault finding, and likes the reset options that allow just the parameter that’s stuck to be reset, making the process is fast and causing little disruption.
Other lights on the tour include a selection of generics, cyc units 20 RGBW LED spots and a back wall of 48 panels of LED Moodlight for generating text and patterns, programmed via a PC-based e:cue control system. The console is a WholeHog II and a wing.
A D-VDOSC sound system is also supplied by Satis & FryFy, complete with L-Acoustics ARCS for infills and delays. The FOH sound is engineered by Jouni “smoju” Paju using an Innovason, and monitors are mixed by Antti Rintamäki using a Midas XL200 ….. the band are all on IEMs.