As one of the Pacific Northwest’s largest bundled service production companies we are currently looking for experienced Video Technicians to join our team! We are currently seeking Video Technicians who will be responsible for testing, repairing and maintaining BPG Video equipment. The responsibilities include examining in-coming equipment and preparing out-going equipment, assisting in loading and unloading of trucks and supporting the Lead Shop Technician with other duties as requested.
Briere Transportation Limited is currently hiring Class 1 company drivers. Briere Transportation Limited participates in local, over night and long-haul freight. We have the ability and willingness to flex work to a driver’s situation to optimize work life balance as much as possible. Our primary market segment is Production Transportation supporting the concert, touring and the live events sector. Concert tours can range in length from a few days to several months. While there are some unique opportunities in the touring business, Briere Transportation Limited recognizes and is committed to supporting your need to be home and offer unique solutions to support that when on tour. A positive attitude and commitment to time sensitive deliveries are a must in our business. If this sounds like you, a rewarding and long-term relationship awaits you at Briere Transportation Ltd.
As one of the Pacific Northwest’s largest bundled service production companies we are currently looking for experienced Lighting Technicians to join our team! We are currently seeking Lighting Technicians who will be responsible for operating, testing, repairing and maintaining BPG Lighting equipment. The responsibilities include examining in-coming equipment and preparing out-going equipment, assisting in loading and unloading of trucks and supporting the Lead Shop Technician with other duties as requested. This position also includes onsite management as an L1, L2 Assistant.
One of Shure’s latest incremental releases in addressing compliance with latest broadcast bands, while shuttering older ones, is the digital wireless system series ULX-D. The transmitters come in the expected form factors including handhelds, belt-packs and goosenecks while the receivers offer single, dual and quad channels. The standout feature of the ULX-D, as well as several other recent series, is the addition of the up and coming network protocol Dante. Leveraging Shure’s network hardware, Dante allows for dozens of channels over a single etherCon cable allowing for extremely versatile applications for various use cases.
Shure ULX-D Digital Wireless offers uncompromising 24-bit audio clarity and extremely efficient RF performance with single, dual, and quad channel receivers for any size professional sound reinforcement application. Scalable, intelligent hardware delivers the best performing digital wireless available, with a wide selection of trusted Shure microphones to choose from. Unmatched spectrum efficiency enables a dramatic increase in the number of simultaneous active transmitters on one TV channel, with rock-solid signal over the entire range. Optional rechargeable accessories eliminate the need for disposable batteries while offering extended run time and metering accuracy in hours and minutes. For secure transmission, all ULX-D components include AES-256 encryption.
Generations ahead of any other available system in its class, ULX-D brings a new level of performance to professional sound reinforcement.
Uncompromising Digital Wireless Audio
24-bit/48 kHz digital audio that delivers incredibly clear and accurate reproduction of the source material
20 Hz–20 kHz frequency range with flat response
Greater than 120 dB dynamic range through the analog outputs
130 dB dynamic range (typical) using Dante digital networked audio
60 dB of adjustable system gain easily accessible from the receiver front panel
No transmitter gain adjustments needed: optimized for any input source
One of less common, hidden gems from the world of Chauvet is a product you feel like you’ve already seen before. The Rogue R1 FX-B’s are a blend of several other successful lighting fixtures that tick as many feature boxes as an entire lighting rig. With a small, thin footprint and sturdy base this moving light provides the most punch per square inch while fitting into more intimate stage plot.
Challenging the Ayrton Magicblade-R, the FX-B support infinite rotation for both pan and tilt on each of the five individually controlled LED’s. The RGBW lights have a 7° beam angle, are pixel mappable with 16-bit dimming and individual colour control for the smoothest fades. Built-in macros for colour & tilt control allow quick design and supporting all standard controls including DMX, sACN, Art-Net and Kling-Net.
A popular side-kick to the DiGiCo consoles is the Waves rack-mounted server for live mixing through a powerful, independent DSP. Supporting various plugins it allows for real-time, low-latency processing without clogging up any other systems.
The server features Intel’s Skylake i5 series processors, 8GB of RAM with etherCon connectors and supports SoundGrid or DigiGrid I/O’s. Coming in at 2U’s and requiring only 50W’s of power this beast is an audio engineer’s best friend.
An absolute beauty, Nord’s Stage series keyboards are in high demand amongst artists of every level. Known for their variety of effects, sample support, smooth synth and weighted keys it’s a clear favourite. The Stage 2 cemented itself as a standard from 2011 and is still sold under the EX moniker, the updated model released in 2015.
After it’s initial release, the Nord Stage 2 also received a Platinum award from the Future Music magazine stating it was “the most authentic stage piano/organ/synth available”, period. It also won the MIA Award for best hardware and 2011 MIPA Award for best Stage Piano. Don’t let the year fool you, this keyboard is no slouch and regularly under heavy request.
Compact in size but big on features, the SD12 96 raises the bar as a multi-application digital console at an exceptionally affordable price point. Not only is the SD12 96 a true sonic powerhouse, it is the first in the SD-Range to feature an integrated recording interface which makes virtual sound checking a snap.
Designed to provide optimum performance in live touring, corporate, install, house of worship, theatre and broadcast environments, the SD12 96 incorporates the latest generation Super FPGA technology and Core 2 software to deliver unrivalled power and connectivity in a compact frame.
Designed for even easier operation, the SD12 96’s new DVI display output provides an overview of the console, while brighter LED meters and a DiGiCo Lightbar ensure optimum visibility. Dual 15-inch touchscreens, two assignable master faders and advanced surface connectivity is provided in the form of optional DMI cards.
Under The Hood
The NEW SD12 96 boasts 96 channels at 48kHz/96kHz, delivering a wealth of functionality. Standard channel processing across both inputs and outputs includes Channel Delay, Single and Multi-Channel presets, Dual insert points Hi- and Lo-pass filters @ 24dB/octave, four-band parametric EQ with band curve selection, DiGiCo’s DYN 1 (Compressor, De-esser or Multiband Compressor) and DYN 2 (Gate, Compressor or Ducker).
On board are 119 Dynamic EQ processors which can be assigned to any of the input or output channels; 119 Multiband Compressors and 119 DiGiTuBes. All channels deliver the same pure signal path and feature set, so no matter how you set up your console, you never lose any resources. Within the master section are 16 graphic EQs, 12 digital effects, and up to 12 control groups (VCAs). Using snapshots, engineers can switch between complete configurations at a touch.
The SD12 96’s 48 busses are assignable as sub-groups or auxiliaries, while further configurability comes courtesy of a 12×8 output matrix, dual solo busses, and a Master buss. Unlike all other digital console manufacturers, you don’t lose Aux or Group Busses when using the Matrix as they are in addition, including the Master buss.
The SD12 96’s extensive local I/O section offers eight mic line inputs, eight line outs, eight mono AES/EBU and dual MADI in/out. The SD12 96 comes complete with dual DMI (DiGiCo Multichannel Interface) option card slots, perfect for expandability with industry formats such as Analogue expansion, MADI, Dante, Waves SoundGrid, or Calrec’s Hydra 2 Network.
Briere Production Group continues to expand its Sales Representative team. We are looking for independent, experienced industry professionals, with proven backgrounds in audio, lighting, video and backline production supply. At BPG lucrative opportunities exist, dependent solely upon an individual’s industry experience, motivation and commitment.
As one of Canada’s original d&b providers we are looking for talented Audio Engineers and Technicians. If you are a FOH, MON, A1, A2, RF or Patch Technician we are looking for team members. If you have experience operating, configuring, rigging, mixing and have certification or experience with d&b audiotechnik for concerts and festivals is an ideal asset but if your not trained no problem, just reach out as we’re continually holding training sessions for technicians looking to get onto the next big show.
Looking to get into the industry for concerts & festivals? Briere Production Group is always looking for new and eager technicians to join us of all skill levels for Casual on-call work. Whether you’re recent graduate, musician or just moved to the Vancouver area we are always accepting new contractors to join our team. We’ll provide on the job training and opportunities to learn about all our equipment from audio to lighting, video and staging.
VANCOUVER, BC, Canada – The Briere Production Group provided audio for Korn at the Queen Elizabeth Theater in Vancouver during the band’s Canadian Jagermeister Music Tour 2010, including gear from Martin Audio.
With opening acts 2 Cents and Five Finger Death Punch, the gathering promised to be a high output affair, so BPG put up 28 Martin Audio W8LC compact line array enclosures with 20 WSX subs stacked on stage, all powered by Martin MA4.2 and MA12K amps. The setup also included Yamaha PM5Ds, Dolby Lake processing and Martin Viewpoint software to design the array layout.
Asked about the challenges, BPG’s Rico Domirti said, “We were going into a theater and needed great coverage, and the subs were going to be stacked on the deck so we had to go with a cardioid sub stack array.
“With the new MA12K amps driving our subs in a cardioid stack, we had tons of head room for a very high output show with very little bottom end on deck.”
Currently touring South America, Korn will soon be releasing a new album, “Korn III: Remember Who Your Are.”
There is more to the Winter Olympics than miking the sound of skis and skates and Bryan Adams lip-synching. For an indoor/outdoor series of concerts and live video feeds of Olympics events – one of several staged in the Vancouver area during the winter games – Briere Production Group provided a full complement of gear.
The concert site at Holland Park in Surrey included an indoor stage (Surrey House) and outdoor venue (Celebration Stage), and the gear list included Martin Audio W8LCs, WSX subs, MA12K and MA 4.2S amps, Dolby Lake processing and Yamaha PM5Ds for FOH and monitors.
“We needed two complete concert systems, so we erred on the side of more PA than necessary in both cases,” said Brandon Hestdalen, BPG operations manager. “Our coverage was clear and consistent throughout both audience areas, and we didn’t have to push either rig too hard.
“The outdoor stage featured live acts, live Olympic coverage and feeds from a mobile stage,” said Chris Briere, BPG president and project manager. “The indoor stage was housed in a massive 300-foot-by-100-foot vinyl tent. The type of acts associated with both stages dictated that we offer a professional tour/arena grade system for both.”
Asked about equipment choices, Briere said, “We opted for a Martin Audio W8LC Line array for both venues. The throw of the both arrays eliminated the need for delays at the back of the tent while maintaining consistent coverage front to back.
“DISPLAY software was utilized for 3D site design and pre-visualization during the pre-production phase” to ensure that audio coverage “would be exceed everyone’s expectations,” Briere added.
Briere called BPG’s recently-acquired MA12K amps “incredible,” noting “the user interface is very useful and informative. These 12Ks are barely idling and our subs are absolutely pounding. Our audio tech rep, Rico Domirti, has redesigned our racks to incorporate the new amps into our main configurations, which has resulted in a more efficient system that takes up less truck space.”
FOH engineer and system tech Paul Lepage may have had to deal with a less-than-ideal mixing position for the shows, but he quipped, “Even if my mixing position is way off to the side, my reference is still very good – it sounds pretty even everywhere. Love that PA.”
Fife Williamson, FOH engineer and system tech for the Celebration Stage, credited the PA as “easy to install. The point hang makes it a snap to install and, more importantly, focus can be changed making it much easier to please the client.
“The tight vertical and very wide horizontal pattern of the boxes makes for a seamless coverage pattern from the edge of the barricade all the way to the back walls of the site,” he added. “No holes at all.
“The PA is full bodied and very accurate-sounding, which make your reference a pleasure. No surprises in or out of the front of house tent. What you hear in the tent is what the audience hears everywhere. The sub coverage is perfect in a three stack array, no center lobe at all and the note of the box is tight and very punchy.”
CALGARY, Canada – After the U.S. leg for their Double Down Live tour, ZZ Top headed north of the border for a string of shows in Canada, supported by Briere Production Group and gear from Martin Audio.
Briere Production Group’s Chris Briere called the tour, with stops at Prince George, Dawson Creek, Penticton, Kamloops, Abbotsford, Everett, Edmonton, Saskatoon, Regina and Calgary, as “a standard arena run, but we also had a couple of theater dates, so we needed a flexible, compact and powerful system to handle the different types of coverage needed.
“The Martin Audio arrays were typically 16 W8LCs per side plus eight W8LCs per side for side hangs/outfills,” Briere added. “This rig was flexible enough to accommodate both single and dual point hangs depending on available points in some venues.”
ZZ’s big “Brazos Bottom” sound was provided by 30 Martin Audio WSX subs powered by Martin MA 2.8 and 4.2 amplifiers. FOH (Engineer: Toby Francis) featured a Digico SD8 console with Dolby Lakes and Eventide processing, while Monitors (Engineer: Jacob Mann) also used a SD8 with Sennheiser and IEM microphones.
In preparation for the tour, the Briere Production Group team worked directly with Martin Audio engineers in London to pioneer a Cardioid Sub design for the WSX. As Briere adds, “The result worked exactly as designed and our System Tech, Rico also worked on other sub-pattern stacks & designs throughout the tour.” The crew used Martin’s Viewpoint software day to day and Display for the first date of the tour.
Asked to comment about the sound, Francis and Mann pointed out that the Martin Audio was a “good, clean sounding box with fast rigging and great coverage.”