Ambersphere were thrilled that MA3 consoles were playing their own part in this reunion tour. Zeal provided the lighting and rigging, specifying 2 x grandMA3 Full Size Consoles to control the lights. An MA3 Compact was also onsite which was being used by ER Productions for the SFX on the tour.
We spoke to Eleanor Waller who was the Pyro operator on the tour, to find out more about her experience using the MA3 Compact for this project.
What kind of effects were used (i.e. flames, fireworks) and how were they utilised in the show?
On the JLS 2025 tour, we had 6 x Magic FX Eco2jets hanging upside down from the truss, which created a dynamic, powerful look. Around the stage, we had 8 x Galaxis G-Flame units to create a gas fire ball effect, 14 x pyro positions with a mine, a comet, and 8s duration gerb in each. For this tour, we went with lots of positions for less hits to really emphasise those moments. 2 x MFG low smoke units allowed smoke to merge from upstage through the point of the star, to then flow across the entirety of the star to create those magical misty moments. Finally, 6 x Magic FX Stadium Blasters for that key ending confetti moment. We used multi stars for this tour to tie the effect and the set design together.
How does the MA3 platform allow you work effectively with effects?
Layouts and ease of use help me envision the effect and quickly programme to the tracks as most effects use a consumable. Unlike lighting, I can’t run the track over and over to see that I am happy with the programming, so having an accurate representation on the desk is key.
What feature has been the most beneficial in MA3 for your work?
Live timecode programming helps my workflow immensely. I was only able to attend rehearsals for 2 days, so I didn’t have much time to pre-program beforehand. Being able to sit and run the track, program the sequences in live time, and play it back and edit from there has been the fastest way for me to programme for the tour and make amendments on the road.
What features does MA3 offer that allows you to work safely with effects?
Everyone works differently, but the ability to customise fader colours and assign colours to almost anything makes safety elements stand out a lot more and gives you multiple ways of controlling that safety channel.
How has the Phaser engine allowed new looks with effects?
I have actually stopped using the phaser engine for now, as to create a more structured chase I use the top sequence command. This ensure that the chase not only runs from start to finish, but I can also control if it is just once and know that the effect, for example the flame is only being fired for 0.3s to give that fireball effect. I did my MA3 course at Ambersphere over 3 years ago now, prior to operating Eurovision, so I understand my knowledge is slightly behind. So I do indeed need to come and revisit you guys.
What is your favourite MA3 feature and why?
I could list a few, but one feature I would like to mention that’s great from an SFX point of view is the ability to use a timer to track a sequence or a dimmer, for example. This allows us to see how much to program, or if busking, how many times we have used that unit. We can then calculate how much fuel/gas/liquid has been used without having to check the unit itself. So, for a festival setting when one artist has for example, 20 seconds of CO2, you can keep a better eye on it. Far more accurate.
Credits:
Photos: Luke Dyson & Alex Knowles
Tour director: @smallbrownrobot
Production manager: @matt_burbs
Production coordinator: @harleeeeeeeeeeeeeeee
Stage manager: @torinalarnold
Lights and rigging: @_wearezeal
Video: @led_shed
Set: @oxeventhouse
SFX: @erlasersandsfx
Audio: @solotech_uk_group