Amsterdam, 6-9 February

ISE 2018, the European destination for the global AV industry

The fifteenth show will take place at the RAI Amsterdam from 6-9 February and it promises to be the largest and most exciting exhibition so far in its illustrious history. The most obvious change from the 2017 show is the addition of another hall. This will be known as Hall 15. This has been added to help meet the demand from vendors and service suppliers keen to take part in the world’s largest AV and systems integration show. It is located at the front of the venue.

The day before

Experienced attendees will know that there is much to take part in on the day before the show opens its doors. Taking place on the 5 February there are conferences, all open to ISE exhibitors and attendees.

The Audio Forum conference, an established fixture at ISE, will explore the opportunities and challenges faced when distributing audio over IP. Audio Forum brings together the worlds of AV and pro audio and seeks to improve dialogue and understanding between pro audio and AV professionals. The conference will focus on the following they core subject areas:-Digital Audio Transport; Audio Design with Audio over IP and Digital Audio Protocols.

The Smart Building Conference will explore the latest technologies and business case studies for smart offices, homes, building and cites in a full day, twin track event. The 2017 edition attracted over 400 attendees and leading conference speakers have already been confirmed for next year’s event. This year’s theme is From Smart Building to Smart City, as Conference Chairman Bob Snyder explains, “As more layers of digital networks blanket urban space, new approaches to commercial and residential built environment are emerging.”

ISE 2018 Opening Address

Carlo Ratti

The Smart Building Conference will be followed by the ISE 2018 Opening Address, to be given by Carlo Ratti, the eminent Italian architect, inventor and professor at the Senseable City Lab at MIT, USA. In his speech Ratti will explore, Senseable Cities:
“The increasing deployment of sensors and hand-held electronics in recent years is allowing a new approach to the study of the built environment. The way we describe and understand cities is being radically transformed – alongside the tools we use to design them and impact on their physical structure.
The contribution from Prof. Carlo Ratti will address these issues from a critical point of view through examination of various projects he has been involved with.” The official Opening Reception will follow Ratti’s speech and is open to all everyone to attend to enjoy complementary food and drinks. It’s a perfect opportunity to network and plan for the upcoming four days.

New for 2018, and the pre-show schedule, will be the launch of the TIDE conference taking place at the Okura Hotel, nearby to the RAI. This event is being produced by AVIXA, the trade association formerly known as InfoComm International. TIDE is a thought leadership conference that will explore the intersection of content, space and technology and will show how all three elements can come together to immersive customers in exceptional experiences.

World Masters of Projection Mapping

Being run alongside ISE 2018 the World Masters of Projection Mapping is an exciting new competition based in Amsterdam. It will showcase the finest in 3D projection mapping artistic creativity and cutting edge technology. The competition is being produced as a cooperative venture between Amsterdam Light Festival, Integrated Systems Events (ISE) and the RAI Amsterdam. The artistic and technical challenge for five shortlisted artists will be to create a work of video art to be mapped onto the three-dimensional architecture of the futuristic EYE Filmmuseum, to be experienced from multiple viewpoints. For projection mapping artists this represents a unique challenge.

Photo ©Janus van den Eijnden

The judging, led by Amsterdam Light Festival Creative Director Lennart Booij, will take place on 8 February and the winner will be announced at ISE on the morning of 9 February at a Special Showcase Event featuring the five finalists. During this period ISE attendees will be able to enjoy a two-hour boat cruise and dinner from the RAI Harbour to the competition’s location in the centre of the city. The winning entry and those of the other finalists will also be projected onto the EYE Filmmuseum during the Friday evening after ISE 2018 has finished.

Technology Zones

When the show opens its doors an expected 75,000+ attendees will have plenty on offer to occupy their time. Throughout the 15 halls over 1,200 of the world’s leading manufacturers and service suppliers will be broadly grouped across seven Technology Zones. The 2018 designated zones are: Education, Smart Building, Digital Signage, Pro Audio/Live Events, Unified Communications and Residential. Hundreds of product introductions are anticipated. New for 2018 is the XR Zone, covering VR, AR and Mixed Reality technology and solutions.

Below the floor plan, by scrolling you can enlarge the image and discover the name of the exhibitors in each space.

Voici le plan du salon, en scrollant vous pouvez grossir l’image et découvrir le nom des exposant dans chaque espace.

A brand-new 500sq m. XR Technology Zone has been located in the Park Foyer, at the rear of Hall 8. The centerpiece of the XR Technology Zone will be provided by Holovis. The company is a world leader in sensory experience design in the entertainment, industrial, and retail sectors. An X Reality Hub will be placed at the rear of the Park Foyer and will host a range of XR workshops and presentations throughout the show.

InAVation Awards

Taking place on the evening of the first day of the show this event continues to grow from strength to strength and will once again deliver the recognition that the very best of the global AV industry deserves at this unique and enjoyable ceremony. With the much coveted Project Awards contested by the world’s top integrators and consultants, a ticket to the event provides an all-inclusive evening, so there are no additional costs on the night. After an informal drinks reception guests will take their seats under the iron dome of the converted industrial building for a four- course gala dinner, during which winners across all Technology and Project categories will be announced.

Presentations and case studies

Situated amongst the exhibition stands, three ISE Show Floor Theatres will feature four days of 30-minute presentations covering innovative business and technology case studies from exhibitors, partners and consultants. Theatre sessions are open to all attendees and no pre-booking is necessary.
For 2018 the theatre are named the CEDIA Smart Building Solutions Theatre sponsored by KNX, the AVIXA Unified Communications Solutions Theatre sponsored by Crestron and the AVIXA Commercial Solutions Theatre sponsored by Crestron. Taking place in each theatre for the first time will be a unique set of Business Sessions produced by ISE official supplier AV Magazine. There will also be exclusive theatre sessions produced by the Smart Building Conference, KNX and the Digital Signage Summit.


Throughout ISE 2018 there will also be the opportunity for people to attend a number of conferences and to take advantage of numerous personal development opportunities. These include:-

  • Digital Signage Summit ISE: This is a half day conference that will focus on the latest Digital Signage and DooH technologies and business applications. It is produced by ISE partner invidis consulting and will be chaired by Florian Rotberg.
  • Sports Venue and Fan Engagement Summit: For 2018, SVG Europe has partnered with leading venue publication PanStadia & Arena Management Magazine to create Sports Venue and Fan Engagement Summit, that focuses on the overall experience of the modern stadium – in particular those technologies geared towards enhancing fan engagement. The conference will feature panels and presentations from leading broadcasters, service providers, vendors, architects, designers and consultants.
  • XR Summit: this is a new, full day conference that will showcase the latest Virtual and Augmented reality products, workflows and solutions available for the AV marketplace. It will be equally relevant for both exhibitors and attendees. This is being produced by ISE partner VR Days Europe. It will be chaired by VR Days festival Director Benjamin de Wit.


As ever there will also be a full range of training options provide by ISE co-owners CEDIA and AVIXA. These will vary from short 20-minute ‘primers’’ on their respective stands to a full day’s workshop, masterclass or conference. These will take place on the pre-show day and throughout the four days of the exhibition.
Full details are now available on the ISE with passes available from the new, online ISE Ticket Shop. The ever popular Tech Tours will give attendees the chance to get a ‘behind the scenes’ tour of some of Amsterdam’s most innovative AV installations and buildings. These will demonstrate the state of the art use of technology and installation solutions.

Integrated Systems Events Managing Director Mike Blackman commented: “We are confident that ISE 2018 will be the most exciting exhibition in the show’s history. As ever, we have listened to exhibitors and attendees and spent the last six months crafting a show that will deliver an unforgettable experience. More exciting announcements will be made in the weeks to come.”

For the latest show updates, check the Integrated Systems Europe website


Best Audio & Lighting New Elation Distributor in France

Elation Professional is pleased to announce that Best Audio & Lighting has been appointed the new distributor for Elation Professional products in France.
Best Audio & Lighting, part of the Dushow Group, began in the entertainment technology industry thirty years ago as an importer of Meyer Sound products but has grown over the years to encompass both audio and lighting products.

Marc Librecht

“A partnership with Best Audio & Lighting was the next logical step for us to move forward in the French market,” stated Marc Librecht, head of sales and marketing for Elation in Europe. “Establishing our brand in such an important European country is an important piece of our growth strategy and we are proud to have the opportunity to work with such a well-known and well-respected company that belongs to the Dushow Group.”


Best Audio & Lighting’s Sébastien Nicolas commented, “To better serve our business and existing customers it became very natural to offer not only sound but also light. We are very excited to be working side by side with Elation and feel it is a very important partnership for both of us.”
Best Audio & Lighting serve rental companies large and small across France and also work with major installation customers in theatre, themed environments, museums, architectural, and more. Their experience in the industry and established relationships will be a great benefit to spreading the Elation brand.

Alain Lheriteau

“Our big advantage is that we are very specialized in live events, where we provide excellent support to our customers,” Nicolas states, adding that the focus on lighting will benefit Best Audio & Lighting’s customers and is why lighting professionals like Alain Lheriteau have joined the team.
“Now we will be able to expand our business with lighting, also into the installation sector, and we will be just as dedicated to lighting as we are to audio.”
The new relationship agreement between Elation Professional and Best Audio & Lighting is scheduled to go into effect on February 15, 2018.

More on the Elation Website


Sunrise Avenue Tours with Elation ACL 360i™ and Dartz 360™

From mid-October to early December, Finnish rock band Sunrise Avenue toured across Europe on their “Heartbreak Century” tour, a run of smaller venues before the five-member band hits the road on a bigger arena tour in the new year. Light, set and video were supplied by Ambion headquartered in Kassel, Germany.
Lighting designer Stephan Aue, who supported the band for the first time in 2015 on their enormously successful arena tour, was once again responsible for the lighting design, relying on products from Elation Professional, among others. A total of ten compact ACL 360i™ beam effect lights were used, as well as five of new Dartz 360™ LED beam/spot fixtures. The fall Sunrise Avenue tour marked the touring debut of the compact narrow-beam Dartz luminaire.

The smaller venues presented a special challenge for Ambion and Aue, who explained that the entire production had to fit in a single trailer. “We only had about 450 kilograms of cargo available, which restricts a lot,” Aue said. “Design can be a challenge in small venues. We wanted to generate a small floor light setup, which we did using Ambion floor stands, so-called Tanktraps.
We opened up several vertical levels of light that ascended in a staircase of 1.5 to 3 meters in height. A total of five Tanktraps were equipped with ten ACL 360i units with one Dartz 360 placed on top. We bought the ACL 360i some time ago, which is the ideal tool for this type of use. We already used it on The Dark Tenor and like to use it as a floor beam for bigger productions.”

Aue is also very satisfied with the new Dartz 360. “We became aware of the Dartz 360 during a visit by LMP to our facility,” he says. “We immediately fell in love with it and fortunately were able to try it out on this tour. It’s very compact, an excellent lighting fixture, and we are very positively surprised by its performance.”
In the smaller venues of Sunrise Avenue’s fall tour, the Dartz 360 was able to fully exploit its advantages as a fully-fledged LED-based beam light. One of those advantages was the elimination of the potential risk that traditional beam lights present in small spaces. Despite the narrow beam spread of only three degrees and the powerful beam effects produced from the Dartz 360’s 50W RGB LED engine, the luminaire is safe to use at any distance.

Extremely bright for its wattage and size, it produces very homogeneous color mixing and delivers an output comparable to larger discharge lamp fixtures. In addition to eleven fixed gobos, it has two prisms and a linear frost for bright wash effects.

More information on Elation website


In Germany

Digital Projection Laser Shines Bright at Berlin Festival of Lights

Projection specialist Digital Projection recently took part to the 13th edition of the Berlin Festival of Lights, where a number of its laser projectors were installed to enable video-mapping displays at key sites in the city.
With a renewed focus on digital at this year’s event, it was a successful edition to date with in excess of two million visitors. Spread throughout one of Europe’s most popular cities bringing its sites of major interest to life in spectacular style, the festival is a leading light in the video-mapping world, raising the bar with its impressive showcase.

© Frank Hermann et Nelofee

Every October, the festival transforms Berlin into a city full of light art with displays by national and international artists turning famous landmarks, monuments, buildings and places into a huge stage. Working alongside Dutch integrator Pronorm Urban Experiences – the six-year incumbent preferred supplier for the technical installation at the Berlin Festival of Lights – Digital Projection supplied products which were central to the video-mapping installations at three locations: the Berliner Dome, the Staatsoper Bebelplatz and the Nicolai Kirche. This year’s festival was the first time that projection mapping had been used on the iconic Berliner Dome and Staatsoper Bebelplatz buildings, and audiences were blown away by what they saw.

The Berliner Dome was rigged with 14 Digital Projection M-Vision Laser 18K projectors fitted with 4.0-7.0 lenses and using an HDBaseT interface. The projectors were connected to two Vioso Media servers with eight outputs each. At the Staatsoper Bebelplatz, 10 Digital Projection Titan Super Quad 20,000 lumen projectors were installed with various 1.9-3.5 lenses, connected to two further Vioso Media servers (eight outputs each). Finally at Nicolai Kirche, four Digital Projection M-Vision Laser 18K projectors in portrait mode with 1.8-2.4 lenses, connected to a four outputs Vioso Media server, were installed.

Andreas Voss, Regional Sales Manager DACH for Digital Projection, comments on the product selection: “These products are perfect for this kind of project. Laser technology provides high brightness output and uniformity in colour and light which is critical for successful videomapping. In addition, unlike lamp projectors, they can easily be configured in portrait mode which enables mapping on almost any kind of edifice.”

The size, scale and environment of the festival added to the complexity of the project, alongside the time pressure, as Digital Projection’s regional sales manager Benelux Fred Meijer, who is responsible for the Pronorm account, points out: “Pronorm had four days to complete the entire set up including the mapping. They also had to battle the elements – working in an outdoor environment is always a challenge, especially when the weather is not kind as was the case here! They were also working across multiple, grand scale locations, with a lot of equipment involved.”

Birgit Zander, the Berlin Festival of Lights’ CEO and creative director, comments: “Since we founded the festival in 2005 it has simply gone from strength to strength with each year bigger than the one before. We have used projection mapping as the backdrop to the opening of the event for many years; it is also the opening of the World Championship of Projection Mapping, so we are really setting the gold standard – and the quality of the equipment we use is paramount given we are on a global stage.
“Digital Projection’s laser technology produced fantastic results and outperformed the projectors we previously used. They undoubtedly helped us to tell the stories of global partners and sponsors such as Netflix, National Geographic and Triumph, for whom visual identity is key. It was a very successful event and we look forward to further collaboration with Digital Projection in the future.”

Bart van Bokhoven, Owner and Project Manager, Pronorm, adds: “It was great to have Digital Projection on board as a partner in the project; they deliver exceptional products which helped us create a seamless experience at each of the sites where they were installed. Over the three years we have worked together I have been continually impressed by both the quality and superior customer service on offer. We have many more projects in the pipeline together and I have no doubt they will be equally as impressive and successful.”

Concludes Voss: “We are thrilled to have been a part of the Berlin Festival of Lights which really puts Digital Projection on a world stage. The light festival scene sets the trends for a lot of projection skills and applications which then go on to be used in other areas. Artists are striving to push the boundaries through projection mapping and it’s really exciting to be able to contribute to this – enabling their work through our world-class, innovative laser technologies.”

More information on Digital Projection website


Karlsbad, Germany

Michael Feldmann turns full circle as he rejoins GLP

After 12 years’ absence, Michael Feldmann returns to his origins as a product and portfolio manager. It was at Showtech in Berlin that Michael Feldmann and GLP founder and CEO Udo Künzler met for the first time. GLP had previously caused a stir in the industry with the Patendlight and YPOC series and as a student Michael was looking for an internship as part of his lighting technology studies.
“Here, the door to the event industry opened up for me and fulfilled a long-awaited dream to work for a renowned moving head manufacturer,” he said. “Udo then offered me the opportunity to take care of production as a German engineer in China, which I gratefully accepted.”

Udo Kuenzler (left) and Michael Feldmann (right)

The paths of Feldmann and GLP were soon to part again. For four years he worked as a project manager and planning engineer in the field of architainment. But the passion that had sparked GLP led him back into the event industry for a number of years. Michael Feldman gained extensive experience in project and product management at one of the largest manufacturers in the industry, and built up extensive contacts with investors, designers and technicians.
“After a good 12 years, I am now very happy to be back at GLP. Of course, over the years I have never lost sight of the company and have always been able to follow how GLP has developed into an internationally renowned manufacturer in our industry. I have watched in admiration as the GLP brand established itself in the professional sector, and today their products are indispensable in almost all segments of the industry,” he states as the basis of his decision to rejoin GLP.

Udo Künzler, too, is delighted with his return: “Over the past 12 years, we at GLP and Michael have often been in direct competition with each other — always fair and somehow always with a certain sense of interconnectedness. We are incredibly proud that Michael finally chose us and not one of the many other offers he had.” Udo goes on further to say, “We are now an international company and I firmly believe that one of our success factors is our excellent manufacturer-customer relationship of trust. It is this, in combination with flexibility and reliability, and of course suitable products that are the key to our success in the future. And Michael, as product and portfolio manager, will certainly have a great role to play in that. ”

Michael Feldmann started working at GLP from 1 January 2018. “I take on the job with a great sense of anticipation, and as a contact for GLP products, market feedback, optimization and future product alignment, do everything possible to bring quality requirements and required feature packages for the best user satisfaction to the maximum.”

More information on GLP website


Willemstad, Curaçao

Rogues Get Ferocious at Furia Latina

For Jim Lo-A-Njoe, the inspiration for putting together the Furia Latina lighting rig began with the first word in the November 4 concert’s name – “Furia!” Looking to reflect the fury of reggaetón music’s powerful and unsettling emotions in light, he wanted to create looks that would  blow through the stage with the ferocity of a sudden storm.
Lo-A-Njoe of Massive Productions got the intensity he was seeking, and then some, by building his rig around 78 high-output Rogue moving fixtures from Chauvet Professional. 

“Furia Latina is a show organized by Color Events that is built around passion,” said Lo-A-Njoe.  “It brings together some of the hottest artists from around the world like Ozuna and Plan B, as well as local artists from Curaçao like Chaika, Jaido & Dongo. The intensity of the music is non-stop, and we wanted to match that passion with our lights.”

Lo-A-Njoe arranged 24 Rogue R2 Wash, 24 Rogue R2 Beam and 30 Rogue R2 Spot fixtures around the stage, positioning some of the units on the downstage deck for aerial effects, flying some over midstage for down washing and having others on the upstage deck and risers, where they were used for back washing performers. For accenting and color washing the stage, Lo-A-Njoe used eight COLORado 1-Quad Zoom and 16 COLORado 1-Tri Tour fixtures.
“Having a large number of Rogues on stage allowed us to create a big impression,” said Lo-A-Njoe, who designed the show for most of the local artists. “The Rogue R2 Spot in particular is a monster. We were really able to whip up excitement by crossing the stage with its beams.”
While Massive Productions LD Efrain Jose Andrade Torres did the lighting for local, visiting artists came to Furia Latina with their own LDs and programmers.
Lighting Designer Alex Soto and programmer Jose Diaz, who visited with Ozuna, were impressed with the rig they found. Regardless of whether it was an international superstar or a local artist on stage at Furia Latina, one thing remained consistent: the lighting supporting them was intense, colorful, precise and spot-on professional

As anyone who saw Furia Latina would readily agree, Lo-A-Njoe and the Massive Productions team met this goal with flying colors. “I was very pleased when I saw the entire rig in action,” said Soto. “It was a powerful rig that created a lot of punchy looks, and not a single unit was having issues. It goes to show that with proper maintenance the Rogues can handle the harsh conditions of live events in the Caribbean.”

“Color Events wanted a show where the local artists received the same treatment as the international artists,” said Lo-A-Njoe. “Our goal was to treat the audience to a show that was on par with anything on the global touring circuit.”
More information on Chauvet Professional website


Karlsbad, Germany

GLP JDC1 Creates special look for BMW

Every two years the automotive industry and an army of auto fans head for Frankfurt. At the IAA Show, everything of importance in terms of automobile and road traffic converges — and the slogan is: Take Notice! The Bavarian car manufacturer BMW had some interesting news to deliver at their booth in Frankfurt and decided to set up the announcement in spectacular fashion.

Photo ©A.Holmes

A total of 47 GLP JDC1 hybrid strobes were set around the new car presentation area, ensuring a particularly impressive and abiding memory. The Berlin-based lighting and production designer Martin Kuhn had specified the brand new hybrid strobes for his lighting design, and these, as well as the rest of the technology for this exhibition feature, were supplied by Leyendecker from Wuppertal.
“The JDC1 has been on my wish list since the prolight + sound expo in Spring,” says Martin Kuhn, about his choice of lighting for the BMW stand. “I was looking for new, innovative fixtures that would provide fresh looks. The JDC1 was immediately noticeable because it made exactly these new looks possible. Colours, movement and strobe function … I had not seen this combination before,” Kuhn continued.

Photo ©A.Holmes

And having seen the first demonstration at GLP’s presentation in Frankfurt, the Berlin designer was clear on how the JDC1 would be deployed at IAA: “The design for BMW featured a ‘light cradle’ a ‘pelmet’ type strip separating the stage floor and the LED wall above it. For this strip I was looking for a special effect – and suddenly the JDC1 came to mind. In addition, I had originally planned conventional strobes on the roof above the stage — but this has no comparison.”
Almost 50 hybrid strobes were programmed in full mode with 68 DMX channels per fixture. “It took little effort, yes, but it was definitely worth it. I like the possibilities that this lamp offers me — not just a strobe but also a washlight or the combination of both. And the bandwidth is gigantic: sometimes only a narrow strip of white light from the strobe tube and a moment later powerful flash images with strident lighting. Both have their charm and both effects are produced from the same lamp. Equally thrilled by the diversity of the JDC1 was fellow show designer and operator, Ben Schiller.

Photo ©A.Holmes

Up until now Kuhn has not planned any further projects – “but that can change quickly” he knows from experience. Will it be GLP JDC1 again? “If it fits – definitely!”

More informations on the GLP website


L’Acoustic world’s first

L-ISA gives Mercury Space Moscow a sound image clear enough to touch

Mercury Space Moscow sits on the 40th floor of Mercury City Tower in the Russian capital.

Mercury Space is a 975-square metre, ultra-luxury, multifunctional venue located on the 40th floor of Mercury City Tower in Moscow. Sonoruss, suggested an L-ISA immersive audio system – the first Nightclub installation in the world.
L-ISA, which stands for Immersive Sound Art, is a breakthrough in immersive audio technology, combining L-Acoustics’ industry-leading sound design and world-class loudspeaker systems with sophisticated processing tools to create a hyperrealistic soundscape at live shows.

“We introduced the venue’s owner to the new multichannel L-ISA system, using Kiva II and KS28 when they visited the L-ISA Lab in Highgate. We suggested that they could do the installation in two phases to spread the cost,” explains Igor Verholat, CEO of Sonoruss. “But he was so blown away by what he heard that he decided to have the complete system installed straight away. In fact, the trip determined the entire concept of Mercury Space Moscow.”

The installation was performed by Theatre Technique and Technology, with the Sonoruss and L-ISA teams providing support from initial consultations, through to the sound design and final calibration. “L-ISA provides an amazing localisation of sound sources that immerses the listener in the sound space,” says Alexander Ananiev, acoustic engineer for Sonoruss. “It provides a hyperrealistic soundscape for the audience and gives sound engineers advanced surround mixing tools during live events, which is a big step forward from traditional two-channel sound systems. “However, L-ISA can enhance the spatial impression, even when reproducing a conventional two-channel mix, because of the so-called ‘upmix’. For example, a DJ’s performance in this hall would sound spatially more enveloping, even with a two-channel source.”

Mercury Space’s frontal scene system comprises five hangs of four Kiva II each arrayed across the front of the stage, with two SB18 subwoofers positioned one either side of the centre hang, and two KS28 subs ground stacked either side at the front of the stage.

Since this was the world’s first nightclub to permanently install an L-ISA system, the project was directly managed from the headquarters of L-ISA,” says Igor. “During the installation, Sherif el Barbari, Director of L-ISA Labs, trained all the engineers that will work with the system on a day-to-day basis.
Calibration and tuning of the system were carried out by Sherif and Julian Laval, Applications Engineer Fixed Installs at L-Acoustics, and the Sonoruss team.” The venue is an unusual, upturned U-shape, with the stage sited at the apex of the U. The final configuration of the system was designed with the aid of L-Acoustics Soundvision 3D acoustical simulation programme.

Complementing the frontal system and providing even coverage across the entire space are eight X12 positioned at the top of the walls on the sides and opposite the stage, with a further ten X8, five per side – two closer to the stage and three towards the rear of the venue where it is slightly wider- cover each of the U’s ‘arms’.

The frontal scene system consists of five hangs of four Kiva II each arrayed across the front of the stage, with two SB18 subwoofers positioned one either side of the centre hang, and two KS28 subs ground stacked either side at the front of the stage. “This configuration provides the main power of the system,” says Mercury Space sound engineer Alexander Alperovich.

A view of the Mercury Space face system.

To complement the frontal system and provide even coverage across the entire space, surround speakers comprising eight X12 are positioned at the top of the walls on the sides and opposite the stage, while ten X8, five per side – two closer to the stage and three towards the rear of the venue where it is slightly wider- cover each of the U’s ‘arms’. The system is amplified by LA4X and LA12X amplified controllers.

“Having eight sound sources located around the hall allows a sound engineer to put a guest into the sound image as if the sound is enveloping him,” continues Alexander. “This means that even the most demanding engineer will be satisfied. Mercury Space is one of the most expensive halls in Moscow and very popular with high-end clientele and celebrities. Since the L-ISA system was installed, every visitor has had a great experience.” ” The sound image is so clear that you can almost touch it,” says Roman Ivanovski, who also engineers at Mercury Space. “It is fantastic!” Such is the luxury of Mercury Space Moscow, it is the city’s most expensive and exclusive space.

The L-ISA system has enhanced the feeling of exclusivity, producing such intense interest that it has instantly become Moscow’s most sought after venue. More information with links below :

Steve Bewley creates the perfect Stormzy with Ayrton

“This is the moment that I have been waiting for my whole life. I am now ready to certify my position as a credible artist and someone who is here for the long run.” The grime artist Stormzy was in no doubt about the importance of the Gang Signs and Prayers Tour, in promotion of his debut album, that visited Academy venues across the UK and Ireland through the spring, before performing two shows at the legendary London O2 Brixton Academy.
Lighting Designer Steve Bewley opted for an Ayrton-laden specification for each incarnation of Stormzy’s show. “There were 38 MagicPanel™-R units and ten MagicBurst™ on my list.


The UK and Ireland shows were all of a decent size, Brixton Academy has a capacity of nearly 5,000 and then we had various festival variations and a special rig for Glastonbury. Altogether, there were six different designs but the Ayrton fixture choices were always central to the show. Their dynamic look is not something that can be replicated and they were versatile enough to adapt to the different venues and configurations.

Ayrton MagicPanel-R

“For the academy shows, we stripped out the house rigs to make it entirely Stormzy’s show in each venue. Our rig was composed of straight truss with the MagicPanel-R fixtures deployed in uniform lines across the mid and back trusses to give a great linear effect, and again across the floor. When we reached Brixton for the two showcase nights that were filmed, it was important that the rig delivered for camera as well as the audience.
“We pulled out all the stops then, increasing the number of MagicPanel-R units and loading them onto six moving trusses arranged in a horseshoe shape and split into three sections downstage and upstage; two further satellite trusses moved up and down behind that and more filled in across the front of the stage and downstage left and right at floor level. This helped fill in any gaps for the cameras and provided eye candy and more interesting perspectives for TV angles. We also had seven rotating screens as backdrops with seven more above arranged at a differing heights. Everything could be independently manoeuvred on Kinesys system to create multiple moving layers.

“I really like the way the MagicPanel-R’s square face looks good in big, long uniform lines of fixtures, and the break up of the horseshoe truss array made it look brilliant. With a solo artist, they gave the camera something extra to work with. By using the MagicPanel-R we were able to change it up easily by running huge colour effects through them, maximizing the appearance of the uniform line of fixtures coming through the architecture, and using the onboard effects to create a different look for every song.

Ayrton MagicBurst

Bewley also added ten MagicBurst™ fixtures to an upstage moving truss. This fixture is the first high-power graphic LED strobe on the market with Ayrton’s characteristic continuous pan and tilt, and the company’s first investment in the strobe market. “Although I hadn’t included the MagicBurst in a design before, Ayrton’s UK distributor, Ambersphere Solutions had shown them to me at a Tiny Tempah rehearsal and I was impressed. It was definitely what I had been looking for for a number of applications, and Stormzy’s gig at Brixton gave me the first opportunity to try them out. They didn’t disappoint: they are bright – very bright!
Bewley did not just use the MagicBurst units as strobes although, as he points out, “they are so bright they were amazing as an audience blinder and we put that to good effect on the livelier tracks to really get people going! However, the MagicBurst worked well as a white floodlight, and with all the screens and set moving in front of them, they gave us something interesting to work with.”

The start of the show began with almost nothing on stage, into which Bewley added huge stabs of white light from above, while keeping the source of the light concealed from the audience. “We were able to inject massive bursts of white light from behind the screens and other architecture, then when the MagicBursts did come into view, we could adjust the appearance of the fascia using the onboard macros, create effects and use them as a strobe, while all the time moving them around to create different angles and shadows. We had a lot of really cool shadows coming through because of the way the light sprayed out of the sides and hit all the architecture, and found we got weird colours and shapes as well as shadows which highlighted everything brilliantly.


“We were able to use the retinal memory of the audience to achieve a subliminal image by strobing the pattern on the face of the MagicBurst which was fun to play with, and another reason for choosing the fixture. This worked especially well because I was using some of the effects on the MagicPanel-R and emulating them on the fascias of the MagicBurst. I was able to do this using the inbuilt personality for both the MagicPanel-Rs and the MagicBursts without any pixel-mapping. The Ayrton kit is great for this because the personalities are so similar. I don’t have to waste time with new learning curves or reprogramming. It’s ideal for touring with different configurations and saves a whole load of time.”
Bewley concludes, “My techs are happy; I’m happy and loved the different applications for both the MagicBurst™ and the MagicPanel™-R.”

More information on all Ayrton’s LED lighting products can be found at Ayrton website


SGM P-2s and P-5s Light Up Cranes of Montreal


SGM’s P-2 and P-5 wash light fixtures teamed up with Creativ Nation. Formerly known as Le Diplomate, Creativ Nation has made many business upgrades and changes over the past few months. Additional to their rebranding, their stock in fixtures has also grown to make room for the revolutionary SGM IP65-rated P-5 LED wash light, which is now available for rental in the Montreal region.

Most recently, Creativ Nation’s Martin Berthiaume was introduced to the architectural segment of SGM by Marc-Andre Turgeon, Sales Manager for SGM Canada. Berthiaume was curious to know more about the maintenance-free, outdoor-rated fixtures for a particular project in mind. Berthiaume elaborated:
“My client had a great openness in terms of marketing and wanted to put promotional emphasis on his new real estate project under construction. A 30-story retirement tower, the highest in Canada!” Soon the crane illumination project was underway.
Berthiaume knew that there would be extensive challenges to beautifully illuminate these structures while being mindful to not hinder the construction process. SGM’s wireless DMX technology provided great versatility without compromising the functionality of the wash light.


Berthiaume explained: “Our first challenge was to limit the installation of wiring so as not to obstruct the various mechanisms of the crane from a height of 200 feet. With the help of the wireless DMX technology of SGM, we were able to carry out this mandate with brilliance.” This was not the only challenges faced by Creativ Nation’s Producer.
Power consumption and output of the LEDs also factored into this project, however, these issues were also resolved deploying SGM’s luminaires due to their bright and powerful output, and relatively low power consumption.

Berthiaume claimed: “Of course, there was the electrical supply to be taken into hand, but we soon forgot this aspect when we realized how small the power consumption of the P-5 and P-2 was.” Another concern was how the fixtures would fit into the limited space. Relying on the versatility and the mounting orientations of the fixtures, he began to test their durability. “We had to rely on the mounting brackets of the fixtures for major safety concerns in connection with the vibrations of the crane, constantly in motion. Follow up visits revealed that the P-5 and P-2 linking system had not moved a millimeter!”
Lastly, it was important to create an eye-catching architectural piece without adding a large number of fixtures. SGM’s saturated colors and extremely bright output allowed Berthiaume to succeed with ease. “The end result was spectacular and enabled us to note that we had overestimated the number of units needed. The impact and enthusiasm around the illumination of the crane was a huge success and we are extremely proud of the realization. Thanks to SGM for products of very high quality and especially to Marc André Turgeon without whom the project would never have seen the light!”


Marc-André Turgeon concluded: “Working with clients like Creativ Nation who are very open- minded to new opportunities and challenges has been a privilege for me. Seeing potential markets and being able to bring those ideas to people like Martin, who in turn take those ideas and translate them into reality, is a dream come true. Creativ Nation both understands our vision and embraces our vision for the future of both temporary and permanent architectural lighting. I look forward to working with Creativ Nation in the very near future on new and innovative projects.”

More informations on the SGM website and on the Creativ Nation website