Martin Audio announces two high-performance cardioid subwoofers

Martin Audio SXCF118

Martin Audio has announced the release of two new compact, high performance cardioid subwoofers, the SXCF118 and the SXC115, suitable for both live sound reinforcement and fixed installations.

Martin Audio SXC118 internal view.

The SXCF118 is a flyable version of the SXC118 released last year and has been purpose designed to accompany the WPS optimised line array system, while the ground stack SXC115 is set to partner WPM.

The SXCF118 combines maximum low frequency output with exceptional pattern control.
It features an 18” (460 mm) forward facing driver and a 14” (356 mm) rear facing driver, each driven independently by separate amplifier channels and DSP. Each driver has its own chamber with optimised bass reflex porting.

Martin Audio SXCF118 array

This arrangement produces a cardioid dispersion pattern which maximises the front radiation, while reducing unwanted radiation behind the subwoofer.
The recommended iK42 amplifier optimises the DSP parameters for front and rear drivers to maximise the rear rejection from 21 dB at 43 Hz to 28 dB at 75 Hz.

This keeps low frequencies away from stages and walls as well as reducing reverberant energy in the room, greatly improving low frequency response accuracy and impact. In front of the enclosure, the output from the two drivers is additive, giving an extra 2 dB of output when compared with a conventional 1 x 18” subwoofer.

The enclosure is constructed from tour-grade plywood and finished with a hard-wearing textured polyurea coating. It is equipped with four grab handles, while foam-backed perforated steel grilles protect the front and rear drivers.
Integral flying hardware, coupled with the WPSGRIDT touring flying frame, allows the SXCF118 to be incorporated at the top of a WPS array, or flown as a separate array alongside.

The SXC115 follows similar principles and contains a 15” (380mm) front facing driver and 12” (300 mm) rear facing driver, each driven, again, independently by separate amplifier channels and DSP. Each driver, similarly, has its own chamber with optimised bass reflex porting.
In front of the enclosure, the output from the two drivers is additive, giving an extra 1 dB of output when compared with a conventional 1 x 15” subwoofer and 21 dB at 43 Hz of rear rejection. It is the perfect accompaniment to WPM or indeed with a pole mount for Martin Audio point source loudspeakers.

Martin Audio SXC115

Shipping for SXCF118 will begin in May with the SXC115 a month later.

More information on Martin Audio website

Adlib invests in Ayrton Khamsin, Bora and Diablo

Merseyside-based Adlib made a sizeable investment in Ayrton fixtures by adding Khamsin-S, Bora-S and Diablo LED profiles and wash lights to its inventory, purchased from Ambersphere, Ayrton’s exclusive distributor for the UK.

Established in 1984, Adlib is an event technical services company in the UK, providing hire, sales, and installation of professional audio, lighting, video, rigging and staging equipment across the whole spectrum of the live events industry.
“We were looking to add some big, powerful LED fixtures that were bright enough to handle the areas that we are growing into fixtures that were comfortable in arenas and larger venues, with a full feature set, framing shutters, CTO wheels, and all the other essentials. The Ayrton products ticked all of these boxes.”

Edwards first spotted Bora and Khamsin at a tradeshow in the company of Ambersphere: “It was the quality of light coming out of the Bora wash light that caught my eye and especially impressed me,” he says. “It is very rare that you see something in the ‘bread & butter’ range that excites, but when I saw the fixture, it was like seeing something new and ground-breaking!
“You could almost feel the light, which is testament to how good the glass optics are. Add to that the fact you can get air effects out of it, and it has an absolutely massive zoom range which can cover an arena stage with just 8 units – well, there’s not many lights that can do that.”
24 Bora-S wash lights and 40 Khamsin-S profile spots, both of which are capable of producing 40,000 lumens from their 750W LED sources, were initially purchased from Ambersphere for the Gerry Cinnamon tour, designed by Pete Hutchinson of Illumination Creative Design. “Khamsin is an absolutely solid workhorse light for us and it will form the backbone of many shows to come,” states Edwards.

“Much of Adlib’s work is with broadcast and many of our shows are either recorded or broadcast,” explains Edwards, who has a very strong video background, “so it is very important to be able to fine tune colours to assist cameras. When working with LED lighting, a camera engineer must pull a lot of green out of the cameras to obtain correct skin tones.
But the Ayrton Khamsin and Bora have a ‘minus green’ filter built into them so, instead of correcting it in camera, you can fix it at source. The result is that you get a lovely skin tone in real life and in camera, straight out of the fixture, which is a really big plus.”

The new Bora and Khamsin fixtures proved such a hit that Adlib made a follow-up investment in 24 Diablo LED profile spots – powerful, fully-featured, compact 300W units that pack a 19,000 lumen punch which immediately went out on tour and were initially used on tours by Sam Fender and Asgeir designed by Liam Tully. “We decided on Diablo for similar reasons to its bigger brothers,” says Edwards.

“We wanted something we could put into the same rig as Khamsin and Bora to give us a coherent range of fixtures which can cover all sizes and style of venue and show.
The big advantage of Diablo is its small size compared to what it is capable of doing: they’ve got an incredible feature set for such a little light and they are very, very bright for such a small fixture, they really do pack a punch! Ayrton has made a product range that is very investable.”
“We are proud that Adlib has entrusted the heavy lifting tasks of lighting their arena and broadcast applications to our Khamsin and Bora,” says Ayrton’s Jerad Garza. “The output and consistency of these fixtures, and that of the smaller Diablo, will continue to give them returns for many shows to come.”

For more information on Ayrton Bora, Khamsin and Diablo, and the full range of LED lighting fixtures, visit the Ayrton website

And more information on Adlib and its services

Encore SFX invests in MDG for BBC1’s The Greatest Dancer

When forming special effects company, Encore SFX, George Baker and Anthony Earles, both of whom have many years’ experience in senior roles in the SFX business, decided to invest in the highest quality special effect products available, and knew exactly which company and products they wanted to partner with.

“We needed great products from a reliable company who could offer not just the quality but the essential support required, and immediately thought of MDG,” says Baker. The company purchased 4 MDG ICE FOG Q HP low fog generators with DMX interfaces, and 4 pneumatic Round Floor Pockets with remote control boxes.
The ICE FOG Q HP is the quietest low fog generator on the market which it produces a thick, low-lying fog with zero residue. The award-winning Round Floor Pocket is DMX/RDM operated and can be embedded in the stage floor or set wall to conceal a fog output and deliver low fog or fog to precise locations.


“The ethos of our company is to make effects more accessible and give our clients the best products for their money. The only way to do this is to offer the best,” says Baker. “We have worked with many different brands of fog and haze machines over the years, and as we are not tied to any one brand, we can choose which we want to go with. When we started the company we were in a unique position of having no pre-existing stock, so could make a fresh start by investing in the best, and latest, products on the market.”

Baker and Earles have very definite reasons for their faith in MDG: “We believe the ICE FOG Q HP is one of the best-built units we have seen. The volume and consistency of the output is incredible. It’s the best looking effect I’ve seen and it doesn’t rise up when you move around in it. Other low fog machines’ output tend to flick up and get wispy, but MDG just sticks to the ground and is solid, no matter what you do to it.”


The ICE FOG Q HP units and Round Floor Pockets were instantly put to work in BBC1’s current series of The Greatest Dancer which is filmed at LH2 studios in West London, with lighting director, Tim Routledge.
“The products we’d used for the previous series were OK, but not the best quality, and with a such big stage and lots of movement from the dancers, we found the low fog was getting thrown up into the air,” says Baker. “For this series we swapped to the ICE FOG Q HP and sunk the Round Floor Pockets into all four corners of the stage.

This instantly made the stage look a lot cleaner as the space is just an open dance floor where you can’t hide ducting. Then, because of the ICE FOG Q HP’s high output, we got really dense low fog, with the floor pockets ensuring an even distribution and sharp cut offs.
They are just incredible. We were very happy with the result and it’s the perfect opportunity to showcase an excellent product on six weeks of prime-time national television!”

Tim Routledge, lighting director for The Greatest Dancer, agrees: “We’ve never quite cracked low smoke at LH2 during live TV shows but with the new investment by Encore in MDG we have gorgeous low smoke that lasts and sits low for an entire performance. MDG are by far the go-to company for haze and fog.”

“Anthony and I spent a long time looking at other units, but MDG was the obvious choice by a long way,” explains Baker. “When The Greatest Dancer came along for the second year running, we knew it was the ideal opportunity for us to initiate the investment we’d been wanting to make. Working closely with the production team we had a clear choice of which route to take. Why would you opt to put together combinations of products from other manufacturers when MDG does the full package in one?”

Encore SFX chose the Q version for its high output and ability to fill much larger areas, as it now runs on regular HP (high pressure cylinders) that can be sourced easily from local gas suppliers. “I prefer to have the bigger output units in our stock to give us more options on the many, varied jobs we have lined up for them in future. We can be in a TV studio one week and an arena show the next and anything in between. The ICE FOG Q HPs give us maximum flexibility.”


But Encore SFX’s investment in MDG goes beyond the quality of its products: “The service we got from MDG, in particular Matt Wiseman, was incredible. This is a big investment for Encore SFX but an exciting prospect for us, and Matt was there to advise us every step of the way. We are the only SFX company to have MDG in their stock, and aim to develop our relationship with MDG further.

“We like to work with people who support and help us right from our beginning, and keep working with those who have proven, not just to provide the right product, but also the support. It’s very important for us to know the service is there, and the danger is from companies who just want to sell you a product rather than invest in you as people or as a company. With Matt and MDG, I know I will get the best service and a straight answer with every call. We want to invest in MDG to the same level as they want to work with us.”

For more information on all MDG’s fog, haze and atmosphere generators, visit MDG website

Lighting designer Normand Chasse chooses Robert Juliat Dalis 864 for new Canadian music series, Mix Sonore

Lighting designer Normand Chasse of Montreal-based Wysart selected Robert Juliat Dalis 864 LED asymmetric footlights for the recording of Mix Sonore, a new English-French music variety programme, which will air on Canada’s TV5Unis starting in May.

Mix Sonore is a live music series which features Martha Wainwright hosting a lineup of English and French-speaking artists at Halifax, Nova Scotia’s Marquee Ballroom.
Performers on the 13 shows include Rose Cousins, Classified, Matt Andersen, Basia Bulat, Jason Collett, Marie-Pierre Arthur, Sam Roberts, Etienne Fletcher and Yann Perreau. It was produced by Connections Productions Inc. of Halifax.

Normand Chasse says he was “excited to see” the Dalis 864 fixtures at last year’s LDI and has been kept up to date on the fixtures by ACT Canada’s Alex Monat. The Dalis 864 is a new, 150W colour variation of the original Dalis 862 tuneable white footlight designed for the creation of colourful upstage or downstage lighting. Mix Sonore’s Dalis 864 units were supplied by Jonathan Pichette of SoftBox Integration, Montreal.

“I’m a big fan of Robert Juliat products,” says Chasse. “The company makes really good products; I especially like their new LED Fresnels.” Chasse calls the Dalis 864 “amazing” with “a curve that’s so sweet and soft for an LED light, nice colours and really good results when lighting faces. I can control every group of four LEDs and use two different colours in lighting the full body of a singer or musician. The fixture is a good substitute for tungsten lighting.”

He also likes the marker or cue lights inside the fixture, which are helpful to artists in a blackout situation on stage. “The low height of the light means you can put them in front of monitors, and they’re quiet so they won’t affect sound,” he adds.

For the Mix Sonore recordings Chasse positioned the Dalis 864 footlights downstage of the performers. “The fixtures can be just one foot away from an artist and still cover them from foot to head with an even light,” he notes. Chasse also was the set designer for the show.

The lighting designer was so pleased with the Dalis 864 footlights that he says the fixtures are on his gear list for projects going forward. “I’m now a big fan! I’ve got them on the list for the next three or four shows I’m doing for television,” he reports.

Chasse is especially excited about Dalis’s prospects for lighting country music performers. “Lighting country music artists wearing big cowboy hats is always a nightmare,” he says. “The hats create shadows on faces and you can’t see people’s eyes on closeups. But this light will now be my best friend for country music!”

For more details on Robert Juliat’s Dalis 864 footlight and others in the Dalis family and Robert Juliat’s full portfolio of LED, tungsten and discharge lighting fixtures, visit the Robert Juliat website

Robert Juliat is distributed exclusively in North America by ACT Lighting, Inc.

Adamson Launches Free Bi-Weekly Webinar Series

“Everyone has been impacted by COVID-19 and its aftermath, though it’s been especially trying for the live sound community,” begins Jeremiah Karni, Head of Education at Adamson. “That’s why we’ve been working hard on ways to support and engage with our global network despite the fact that we can’t get together.

In addition to offering informative, insightful, and interesting content for attendees, the webinar series also provides them another means to interact directly with our team, as well as their peers in the Adamson Network. It’s about asking questions, sharing ideas, and making sure that, as a community, we’re better poised to come out of this challenge stronger than ever.”

Head of Product and Technology, Brian Fraser.

The Adamson Education Webinar Series launched in mid-March with a pair of episodes dedicated to the latest version (v1.2.8) of Adamson’s Blueprint AV 3D predictive simulation software, followed by an in-depth discussion and Q&A with Adamson’s Head of Education, Jeremiah Karni, and Head of Product and Technology, Brian Fraser.

New webinars currently go live every Tuesday and Thursday. With past episodes already archived for on-demand access, the series will continue to cover a myriad of topics relevant to Adamson products, technologies, and applications, as well as the wider live sound and integration industries for the foreseeable future.

Adamson’s Head of Education, Jeremiah Karni.

In addition to the webinar series, Adamson is developing and adapting other education and networking initiatives to be delivered remotely.
“The bottom line is that we’ve always prided ourselves on offering education and support that’s second-to-none, and in these challenging times, it’s more important than ever that we live up to that,” adds Karni.
“We’re here for our partners and will continue welcoming their input to ensure we’re delivering useful and timely resources specific to their needs.”

All upcoming editions of the Adamson Education Webinar Series, along with other training and networking initiatives, can be found at Adamson Education


Lighting The Sky for Heroes

©Phlippo RentAll

On Sunday 22nd March for half an hour, a number of Benelux lighting rental companies and individuals in fact anyone with access to a light were invited to point it upwards and #LightTheSky in support of all the key workers, heroes and heroines on the frontline of fighting the Coronavirus pandemic.


#LightTheSky was an idea originated by a Dutch rental company … which then became a clarion call taken up by numerous entertainment rental companies, venues, broadcasters and others, by people working in every segment across the whole Benelux Region … with some extremely creative results … as is the nature of our industry!


Heart shapes were a popular choice and many of the lighting schemes utilised Robe products MegaPointes and Pointes were a favourite for their brightness, however other products and brands were also involved in this spontaneous and imaginative expression of solidarity.

It highlighted gratitude for essential workers in the health service, transportation, law enforcement, supermarkets, education and many more sectors who are keeping our countries going during the Coronavirus pandemic.

The photos here are a selection summitted by different Benelux rental companies … all of whom also observed the strict rules now in place throughout Europe on social distancing and other safe working practices during the crisis.

Robe’s CEO Josef Valchar comments, “It’s heart-warming to see the entertainment technology community energised and engaging in actions like this and showing its support for everyone. We’re all affected, and by standing strong together we can help each other survive and deal with the huge challenges our incredible industry faces in the immediate and longer-term future.”


Also over the weekend 183 radio stations across Europe and including the UK from Spain to Slovakia, Luxemburg to Latvia conducted a synched play-out of the classic 1963 hit “You’ll Never Walk Alone” by Gerry & The Pacemakers.

©Purple Group

Galvanising actions like these are taking place all over the world while people embrace the spirit of community and help each other get through the pandemic.


Robe will be producing special content for press, and across our social channels during the Coronavirus pandemic.
Please send your uplifting stories or ideas to us for potential development.

We WILL come through this together.

Astera Academy is Launched

LED manufacturer Astera’s first concern during the Coronavirus pandemic is that everyone stays safe, well and healthy. In addition to that, the Astera Academy has been launched in just a few days as a positive response to the crisis (link here).

Astera Academy is a new venture enabling interested parties, lighting and visual designers, DOPs, directors, gaffers, grips, engineers and techs of all types and from all sectors who are into creative and practical lighting – so they can utilize and maximize their time in self-isolation to learn cool new things!
The Astera Academy is doing its bit to help make the best out of the worldwide situation and assist the wonderfully creative and resourceful entertainment technology industry … to be ready to hit the ground running when life and business return to normal!

Jesper Sørensen who is presenting the webinar sessions of Astera.

We all know that the entertainment and production industry in all sectors has been hit hard by Covid-19. With almost all events cancelled, theatres closed, etc. … many venues have been stepping up to become makeshift hospitals and quarantine centers.
Some companies have been engaging in alternative activities to help fight the virus in any way possible, while others have been shutting and temporarily laying off staff … so, trying to stay inventive and inspired as we all stand strong together to come through this – has become something of a mission!

The Astera Academy offers free webinars allowing people to learn more about the AsteraApp and various Astera lighting fixtures. Topics will include subjects like Getting Started with the AsteraApp to discover its best tips, tricks and less well-known features, with additional topics to be added in the coming days.
Each webinar is streaming twice a day – to cater for Europe and Asia, with an afternoon session for the convenience of the Americas – and will last between 30 and 60 minutes. The broadcast is coming from Astera’s European HQ in Munich, and all times are listed as central European time zone (CET).

Astera’s Jesper Sørensen will be presenting the sessions. He has been doing this worldwide in the last months, and while that’s now not possible in person … his interesting and highly accessible style of knowledge transfer can be enjoyed online.

Astera’s Sales & Marketing Director Sebastian Bückle comments, “Exhibitions and customer visits used to be our most important tools to connect with the industry, but due to Covid-19 it will be online-only for some time! “This is a big adjustment for all of us, but we also see advantages as it is opening opportunities and paving the way towards new and invigorating operational methods.
“I believe more flexible home office options will be available in the future, together with increased video conferencing for meetings and discussions … even after things normalize.
“The Astera Academy will be continuing in the future! Now that we have established the platform, we love the possibilities of connecting with our existing community, reaching out to potential new users and in fact anyone who might be curious about the products.”

Interested parties can sign up and ask questions during the webinar, and if a live stream is missed, the videos can still be accessed later at Astera Academy. Meantime, Astera’s HQ in Munich and factory in China also remain open.

Stringent measures have been introduced to ensure all the workplaces and employees stay safe and that all the rules for social distancing are being strictly observed during the lock-down periods. This includes splitting the offices into small teams with separate entrances, while home office working has been implemented for all where this is safe and practical.

Repairs and other packages can go in and out as usual as Astera continues to provide technical – and moral – support to its distributors, dealers, end users and all collaborators and partners globally.
Most but not all of the worldwide service centers are open, and customers are being advised to check before sending something in. Telephone support should continue to be active in all countries, otherwise please contact Astera directly on Astera support


No INFOCOMM, nor AES in 2020

NAMM & ISE will have been the only major 2020 shows held before the Covid-19 outbreak. Respective managements have decided to cancel InfoComm and AES for the health and safety of exhibitors, attendees and staff.


“This was not a decision we made lightly but with careful consideration and as advised by public health authorities,” said AVIXA CEO Dave Labuskes, CTS, CAE, RCDD.
“Thankfully, we did not have to make it alone and are grateful to our InfoComm community, exhibitor advisory committee, education committees, and so many others who supported our desire to not jeopardize the livelihoods and long-term gains of the industry.
InfoComm is not just an AVIXA trade show, it is the industry’s show and it is important that we move forward to the benefit of the entire community.”

Labuskes continued: “InfoComm is the largest professional audiovisual trade show in North America and has always provided a one-of-a-kind experience for both its exhibitors and attendees. We knew that in today’s environment we could not fully deliver on those experiences and consequently could not move forward. More importantly, keeping the community safe and healthy is our highest priority; therefore, we are following the guidelines of public health authorities during the ongoing challenges posed by COVID-19.

“InfoComm show management is evaluating the best path forward for bringing the high caliber, engaging content that InfoComm has come to be known for, and we ask for stakeholders’ patience as we do so. We are committed to exploring all possible alternatives that will bring to light the engaging discussions, industry thought-leadership, product information and best-in-class education that our attendees have come to expect from the show.
“We are grateful for each member of our AV community, from exhibitors and attendees to partners and committees. It is their commitment to the industry that makes InfoComm a success year-over-year, not just in North America but at shows all around the globe. It is that passion that will drive new opportunities to support one another and a new view in 2021.”

InfoComm 2021 will happen June 12-18, 2021 (Saturday-Friday) at the Orange County Convention Center in Orlando, Florida.

More on Infocomm website


With the health and safety of our attendees, membership, exhibitors, and staff being of utmost concern during the global COVID-19 pandemic, and following weeks of discussions with the host Austria Center Vienna, the Audio Engineering Society has officially canceled the live, in-person components of the AES Vienna 2020 Convention scheduled for May.

AES leadership, the Convention organizing committee and headquarters staff members are working diligently to organize the logistics of a virtualization of the Convention technical program into an engaging, compelling, educational and productive online experience.

Details on the virtual Convention, which are being developed to include video presentations of Papers, Workshops, Tutorials, Tech Tours and other technical program content along with live- and forum-based dialog with presenters, will be shared as they become available. We appreciate your patience and understanding as the myriad of options and details are finalized.

More on AES website

Shanghai’s Club Beehive is all the buzz

Photo Beehive Courtesy The Art Of Light

Shanghai, a metropolis with a population of more than 24 million people, now has a new masterpiece Club Beehive. Two Eindhoven-based design companies were the geniuses behind its unique design: multidisciplinary design studio, 250K, created the Beehive concept and commissioned The Art of Light to come up with an equally stunning lighting design for this new club venue. The partnership follows a very successful first collaboration for Club Myst in Suzhou, west of Shanghai.

In keeping with the Beehive theme, Mees Bouman, 250K’s set designer, developed a concept based around a tornado of hexagon shapes arrayed in a honeycomb design. An organic, tree-shaped centrepiece is sited behind the DJ booth which, in turn, is flanked by curved LED screens. The honeycomb theme is repeated throughout the entire club interior as well as across the set design and décor. The honeycombs spread up and out above the dance floor, with moving, tilting chandeliers extending the depth and variety in the shape of the room.

Photo Beehive Courtesy The Art Of Light

As a company, The Art of Light designs, programs and performs next-level light shows for artists, festivals and corporate events all over the world, and its work for this club is no exception. In between the distinctive hexagons, Marco, The Art of Light’s lighting designer, decided to place a large number of Ayrton Khamsin-S, Bora-S and Mistral-S LED fixtures to add richness and variety to an already iconic design. “We chose the Ayrton fixtures because they all have an impressive LED-engine, great colours and a very complete gobo package,” he says.

Photo Beehive Courtesy The Art Of Light

Marco interspersed a total of 61 Ayrton Mistral-S spot luminaires between the hexagons to use as an effects spot, taking advantage of Mistral’s full package of colours and features.
“We chose the Mistral because it is small and intense,” says Marco. “It has a very high output, is fast and has enough features to create variations and looks for a whole night.”
Three Ayrton Bora-S wash fixtures were chosen as key lights for the DJ booth, lighting the headline acts from three positions. “Bora’s high output was needed to overcome and enhance the rest of the lighting effects and combat the output from the LED screens,” confirms Marco.

Photo Beehive Courtesy The Art Of Light

Finally, 23 Ayrton Khamsin-S profile spots were picked for décor and special effects lighting across the dance floor. “We used Khamsin as backlight from the floor and also placed some underneath the curved LED screen,” says Marco. “The high output, and wide/big zoom range of the fixtures gave us the capability of creating rich colours and beautiful gobo looks.”

Marco is an advocate of Ayrton fixtures in the nightclub market because of the comprehensive range of features each brings to his designs. “I really like the full range of Ayrton fixtures as they are all equipped with a good quality LED engine, which provide very neat, fresh, rich visual images and looks, and work specifically well for the look and feel within the dance scene.

“The whole range works both aesthetically and performance-wise. I like the consistency of the look and feel of the fixtures, which also keeps the rig looking really clean.” Club Beehive opened in November 2019 and plays host to top DJs from around the world.

Photo Beehive Courtesy The Art Of Light

For more information on Ayrton Khamsin-S, Bora-S and Mistral-S, and the full range of Ayrton LED lighting fixtures, visit the Ayrton website

Astera Goes from Earth to Mars with Alfred Garcia

Spanish lighting designer Joan Teixidó (known industry-wide as Teixi) used 30 x Astera AX3s ‘Lite Drops’ on the most recent tour for Spanish singer Alfred García, who played over 50 dates around Spain.

Photo by Roser Gamonal

Emerging from popular TV talent show Operación Triunfo, this was Alfred Garcia’s first full production tour to date and the first time that Teixi had worked with the artist, who headhunted him to be part of his creative team after the series’ 2017 season.
Alfred Garcia’s first studio album 1016 was released at the end of 2018 and shot straight to number 2 in the Spanish album charts, and the tour campaign to support it ran from February to November 2019.

Photo by Roser Gamonal

The lighting design was initially inspired by scenographer Lluis Danes’ set, and the brief was to bring a bit of extra ‘magical touch’ to the stage with the lighting. “From Earth to Mars” is one of Alfred Garcia’s biggest hits, so the aesthetic took a bit of a spacey and intergalactic direction.
A textured piano and matching risers onstage were a central part of the look, ideally lending themselves to being lit. Together with an upstage set piece constructed from metal plates, a spaceship-like appearance started to evolve. It was onto this metal surface … that the 30 x AX3s were magnetically fixed each day … in a 6 wide by 5 high matrix pattern.

Photo by Roser Gamonal

It was the idea of working with a back wall of light that had originally made Teixi choose AX3s … because the fixtures can simply be snapped on to the metal plates via their magnetic bases!
This neat, hugely practical genius design from Astera enabled the fixtures to be quickly and easily deployed to the correct places on the metal wall.

Teixi then mapped them and programmed a bunch of eye-catching dynamic effects via his lighting console using the wireless DMX option. “This was fantastic, especially at festivals with super-quick changeover times – no cables, no power, no fuss!” … they were ready to roll in minutes!

Photo by Roser Gamonal

The back wall was a core element of all the festival dates. While the top rigs changed sometimes dramatically from one event to another, the AX3 wall was a consistent part of the aesthetic. The lights were supplied by Arcoiris Lighting. AX3s anchored to set pieces were also used in 2019 for Mark Rosson’s European festival tour.

Teixi himself had used Astera products before, including AX1 Pixel Tubes on tripods for pop-rockers Maldita Nerea. While he didn’t use it for the actual show control on this Alfred Garcia tour, he thinks the Astera App is very practical and useful, especially to know the fixture status at any time and being able to tweak parameters like battery life and intensity equally for all products on the network.
The last concert of the Alfred Garcia tour was in Barcelona’s Sant Jordi Club when they added an LED video screen upstage and adapted the positioning of the metal plates / AX3s to surround that screen.

Photo by Roser Gamonal

Since then Teixi has used Astera products on other events including the XII GAUDÍ Awards Catalan’s version of The Oscars which was staged at Barcelona Convention Center where 22 x Titan Tubes were part of Laura Clos’ “CLOSCA” set design. He has also used them on numerous corporate and private brand shows and activations … and is generally a big fan of this innovative manufacturer.

More info on Astera website