Here’s an entry from Robert Bell, who guest blogged with us to share his thoughts on the first day of the BLMC. Take it away, Robert…

It was a beautiful day to sit in traffic on the way to the Skirball Auditorium (I just like saying that word out loud). Ah spring-time in NY. Better than the rain we had last week. Nothing like walking down 42nd St.

with a VL500 in a garbage bag. Todd Kessler was in town training Local 1 on the whole VL line, and Matthew Burstein, George Masek and I ran cover. Sunday, we spend five hours on the Intrepid (again in the rain) checking out cool planes like the Concord. How very geeky.

Today we missed Jules’ keynote to set up for the mini-trade show. It all went swimmingly (except the traffic). After the morning session. everyone stormed into the room and raided the table of focaccia bread sandwiches (another word I love to say). Then we got to meet the delegates (or are they students or attendees?). It was a wonderful cross section of people from all walks of life. The grade 10 stagehand that knew more about lighting than most theatre types, the Swedish student over for a work/holiday visit, the professors from across the country and of course the B-Way LDs. On display, we had two of our very newly released VL500 80v (one saturated color, the other, the more theatrically suited pastel version) and a VL1000 AS. All three were controlled by the Marquee ILC where we showed its theatre and ML friendly interface all connected to the Lightolier architectural controls. (Enough of the advertising)

It’s nice to be back. I’ve been coming to these BLMC things long enough to remember the seminars about how these “new fandangled wigglie light things” could be used to create art rather than just waggle about. Today it seems that we’ve finally graduated to point were everybody realizes they are here to stay and they’re great tools. Good thing, I was getting bored of that same old speech. Even the guy from high school says they’re not using “a lot” of them: “Maybe just 24.”

If they were all just a little less interested in our products, I might have scored a free meal. The two hour window went by way too fast. Oh well, I’ll made up for it at the cocktail party.

Robert Bell

Horizon Control Inc.



www.horizoncontrol.com



www.genlytecontrols.com

So far, our first day of the Broadway Lighting Master Classes has been a huge success. Students started off with a two-part session by legendary designer Jules Fisher. With a phenomenal turnout, manufacturers were as busy as ever during the exhibitor showcase at the lunch hour (well, two hours to be exact), showing off their wares before sending students back to our afternoon sessions with Beverly Emmons and Clifton Taylor, followed by the final session of the day with Brian MacDevitt (just nominated for a Tony for his lighting design of The Color Purple). Congrats to Brian, and many thanks to today’s speakers.

Moving on, the Live Design staff and the great people from ESTA’s The Behind the Scenes Foundation are currently setting up for this evening’s festivities. In just a few hours, we’ll be kicking off the first ever Live Design honors, which will benefit Behind the Scenes, an organization formed to provide members of the entertainment technology industry with grants for emergency situations, such as serious illness, injury, or death. Thanks to all our friends at ESTA for being a part of our Master Classes.

Tonight, we are also proud to host an evening in honor of the Public Theatre‘s 50th anniversary, paying tribute to “The Design Aesthetic of The Public Theatre‘s Shakespeare in the Park.” Our cocktail reception will be followed by a panel discussion with many of the designers and directors whose work has graced the boards of the Delacorte Theatre in Central Park. We look forward to reporting back on all the festivities.

Well, the BSMCs have come to a close. What a ride! The new space at the Tisch School at NYU proved to be just the ticket for more space, better layout potential for the sponsors, and a fantastic crew. Our compliments to Chris Jaehnig, Leighton Mitchell, Gary Brown, and the really hard-working student crew for all of their help and support during the load-in, classes, and especially the load-out. Having such great support system made our job that much easier.

One of our main goals this year was to create a manufacturer’s showcase that the students really spent some quality time in. From looking at the showcase and in talking to the vendors, it appears that was accomplished. Everyone really liked the new layout for this very reason.

Kathy and I would really like to thank all of the companies for their tremendous support and cooperation. We would like to give a special menton to mention to Richard Bugg of LCS, for his efforts. He not only created a switching system that gave all of the console manufacturers the opportunity to run audio through their consoles, but in the upstairs classroom space he made sure that every word of wisdom could be easily heard.

We are very happy to be back at the BSMCs working with our friends at Live Design magazine as well as all of the manufacturers , students, as well as all the freinds that we get to catch up with at the classes.

Now its on to the Broadway Lighting Master classes!

Michael and Kathy Eddy

We just finished the fourth annual Broadway Sound Master Classes, and I can safely say it was the best one yet. I managed to snag the BSMC faculty chair, Abe Jacob, who’s volunteered to offer some insights about the event:

“It has been extremely gratifying for me to see the great interest in theatre sound design demonstrated this wekend at BSMC 2006. Not only the large turnout of students but also the passion, dedication and intelligence expressed gives me great satisfaction that the art of theatre sound design is alive and well. I want to thank all the students, the presentors, the manufacturers and especially, David Johnson and the Magazine staff for once again believing in these classes and providing the means for their continued existence.”

Thanks Abe, and no, I didn’t pay him to say that. In all honesty, the BSMC is Abe’s baby; he’s the one who makes it possible. Thanks Abe, for all your efforts, both for the classes and for theatre sound design in general.

This year’s show seemed to be the biggest one yet in terms of attendance. I noticed the enthusiasm was quite high among the attendees and I could tell that being at BSMC has really paid off for us in terms of our brand recogition. It seemed that most of the attendees were aware of Lectrosonics and what we do, so it was a pleasant change that I could concentrate more on the product and less on trying to get people to know who we were and what we do.

For me, NYU was far and aware the best venue yet and the logisistic worked out really well for me.

It’s also a great show for networking and I always feel like I’ve made a lot of new friends. Can’t wait to do it again!

Howard Kaufman

Lectrosonics