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In touring production, a minimalist design doesn't simplify the technical work. It exposes it.
That is one of the great technical challenges of the new show by La Oreja de Van Gogh, a tour also marked by the long-awaited return of Amaia Montero and by a staging where the mobile scenery has a real weight within the overall design of the show.
The show's design, staging, set design, visuals, and lighting are all by Maxi Gilbert, with XLR Studio as the technical production team.
The two suspended tulip-shaped lights and the twelve 2 x 3 meter mobile frames do not function as stage decorations. They modify the scale of the space, create depth, and require the stage mechanics to work with repeatable positions, precise synchronization, live risk mitigation, and operational safety on every performance.
When the audience sees the large suspended tulips descend or how the backdrops constantly transform the depth of the stage, what they are really seeing is a movement system integrated within the scenic narrative of the show.
Tulips, frames and KES control: integrated stage movement
The staging of La Oreja de Van Gogh works with a very measured aesthetic: white on white, light on surface and projection integrated into the set design.
This approach demands that every moving element behave with absolute precision. The lampshades and frames cannot change position arbitrarily or generate imprecise transitions. Their movement is part of the show's visual composition and must be repeated with the same reliability night after night.
To manage this part of the show, The production uses four variable-speed Moveket motors along with the KES control system.
The challenge here lies in synchronizing motorized systems, ensuring repeatable positions, and mitigating live risks. Each movement must follow a clear operational logic, maintain controlled speeds, and coexist with lighting, video, music, production, and technical operations without disrupting the flow of the show.
El The KES system allows the coordination of the movements of the two suspended tulips and the twelve frames within a common technical architectureIt also integrates third-party engines when production requires it. Position control via PSN and synchronization with Timecode are possible because Moveket has them natively integrated into KES. This provides control over positions, speeds, and transitions in an environment where reliability is non-negotiable.
On a tour of this scale, the stage mechanics cannot function as a sum of isolated elements. They have to work as part of a complete system.
Ayrton Huracán Profile TC: Optical precision for a white stage
Although stage movement plays a leading role in this production, lighting also supports an important part of the visual design.
The rig incorporates 16 Ayrton Huracán Profile TC, a premium touring light designed for productions where optical precision, power and color quality are crucial.
On a white stage with large projection surfaces, the lighting has to be handled with particular care. framing It allows you to define specific zones without contaminating video areas or invading surfaces that must be kept clean for projection.
Chromatic purity is also critical. Against a white background, any deviation is immediately noticeable. That's why choosing a luminaire like Huracán Profile TC fits perfectly into a design where intensity alone isn't enough: it's essential to precisely control where the light falls, how the color blends, and how each beam interacts with the projected image.
Stage integration for tours that can't fail
A touring production of this caliber isn't sustained by good equipment alone. It requires technical architecture, stage integration, and support capable of responding when the live performance gets tough.
That is where Stonex's integration criteria make the difference.
Moveket and Ayrton are both high-level tools, but the difference lies in how they are specified, integrated, and put to work within a complete system. For rental companies, lighting designers, and technical directors, this means operational reliability, reduced risk, consistency across systems, and the ability to replicate the same results on every tour date.
Because in a touring production, the challenge isn't just that each technology works separately. The challenge is that lighting, movement, video, and control respond as a single technical infrastructure under the same conditions in every setup.
Stonex, official distributor of Moveket in Spain
En Stonex We combine the best of innovation and experience to ensure that each project is as safe as it is spectacular. We work with premium brands such as Moveket, taking rigging and stage mechanics to another level, even in the most complex productions.
