Forscink helps Eraserheads reunite for "Ang Huling El Bimbo" concert in Manila
Forscink Inc. designed and deployed a powerful L‐Acoustics K Series system for over 75,000 fans in a historic reunion concert at SMDC Festival Grounds in Parañaque, Manila.
Last December, 75,000 of screaming rock fans was reunited with the ageless energy of four former members of the Eraserheads – Ely Buendia, Raymund Marasigan, Buddy Zabala, and Marcus Adoro – got back together for "Ang Huling El Bimbo", their first major concert after a 12‐year absence on a live satge. Eraserheads are a Filipino alternative rock band formed in 1989. Over the next two decades the band became one of the most influential and successful in the history of Filipino music.
Staged at the massive SMDC Festival Grounds in Parañaque, Manila, the historic event was organised by WEU Management Services, Dvent Productions, Antsavvy Creatives, and Entertainment Inc. The organisers delivered an energetic programme of the band's many hits that still resonates the audience with powerful, soul‐ shaking thrills and included spot numbers with special guests Gary V., brothers Elmo and Arkin Magalona together with Eon Buendia‐ son of Ely Buendia, the AMP Big Band led by conductor maestro Mel Villena, and actors from the Ang Huling El Bimbo stage musical doing the back up vocals.
The organisers looked to Manila‐based L‐Acoustics Rental Partner, Forscink Inc. as the main sound reinforcement provider to supply a full‐range PA that would fit the musical styles of the band and the guests performers and fill the concert ground with powerful, clear sound.
As a leading technical production company in the Philippines, Forscink Inc. is owned by industry veteran Philip Santos, and he was on‐hand to oversee the set‐up with his team headed by Jake Arevalo together with Philip's son, Justin Santos. Forscink's audio team has plenty of experience designing and supplying large audio solutions for major events in the country.
Justin Santos, Head of Sound at Forscink Inc. and the SystemEngineer for the "Ang Huling El Bimbo" concert set to work designing his system using Soundvision 3D modelling software. "We used Soundvision together with the tools that come within in like Autofilter. The delay times were also set via Soundvision and Network
Manger so we just had to verify the system when we arrived at the venue. This was especially helpful because ingress was tight so having a streamlined workflow really helped," he reveals.
The FOH's PA requirement was to be on a full‐range system. The main system included identical L/R hangs of 15 L‐Acoustics K2 (total of 30) with 12 L‐Acoustics KARA per side (total of 24). Front fill consisted of 12 more KARA while Stage fill had another 3 per L/R sides (total of 6).
The Delay systems consisted of 12 K2 per L/R sides for Delay‐1 (total of 24), and 16 KARA per L/R sides (total of 32) for Delay‐2.
The Subwoofers were divided into 24 SB28 (ground), 16 K1‐SB (front distribution), and 4 SB18 as stage fill subs. "The K1‐SB were hung above the K2 in orderto help extend the low frequency throw of the main hangs," explained Justin.
Manning the FOH mix for the show was Sound Engineer Sho Hikino who had a DiGiCo SD5 using Waves plugins at his command.
The Monitor system approach on the stagewas assigned to 38 wedges including L‐Acoustics 112P stage
monitors, RCF and FBT 12"/15" active speakers, and Martin Audio LE1500 stage monitors. A second DiGiCo SD5 console was delegated for Monitor Engineer Xyron Ocampo.
With so many uniquelooks to produce, Lighting Designer Macky Mangasi had an impressive arsenal of over 400 movers and strobes from positions on the floor and rigged on overhead trusses. With guest performers and multi‐cue songs that may require a change to a single look, the lighting design not only had to complement the intensity of the show, it had to be flexible and be prepared for anything.
Forscink Inc. supplied over 300 lights including Martin MAC Auras, Claypaky Stormys, Claypaky Scenius Unicos, Claypaky Alpha Wash 330s, Acme Geist, Acme Willows, Acme Dotline 360s, Acme Solar Flare, Acme Solar Impluse, Molefay 4s, and Clearlite LED Pars.
Additional to the rig are 120 units of Claypaky Sharpy Plus and StormyRGBW fixtures which were supplied by Stage Craft International Inc.
Completing the lightinginventory are two 5K followspots and eight high output haze machines which adds to the atmosphere.
The light were programmed on an Avolites Diamond 9 (D9‐330) lighting console which was linked together with an Avolites Arena console as a back up. Both desks are running on the powerful Titan v15 software.
The video system used a combination of 47 sets (35 panels/set). The Main Stage alone used 14 sets of IMAG LED screens for delays. But it was the dynamic moving LED wall with a giant inverted letter "E" that levitated over the main stage that caught the fans attention and was the most talked about visual eﬀect of the concert.
The TV coverage was composed of 13 units 4k Panasonic broadcast system cameras inclusive of two jimmy jibs, one steady cam and one drone.
"It was truly a 'magical night' as one publisher said. The iconic band that transcend generations truly gave the 75k strong audience a night they will never forget. The production and technical crew did one hell of an amazing job into putting things together. Mounting a show like this requires an army with lots of power, strength, brilliance and grit. The amount of work that has been given to put up a show like this doesn’t happen every so often and I am so glad we got the chance to do that for the audience that loved and continues to love this epic band‐ The Eraserheads. Our hearts will forever be grateful." ‐ Ms. Toni Rose de los Santos, Production Manager for
Ang Huling El Bimbo.
Photos © Diego Gabriel Reyes
Photos © Jake David S. Arevalo