ISE 2024

EUROPEAN LAUNCH OF THE JDC2 IP, THE NEW SUPER-POWERED HYBRID STROBE/WASH FROM GLP

A new generation version of the famous JDC1 appears in the German Light Products catalog. We find out about it in detail with Greg Westwood, product specialist for GLP.



A great success established in service provider equipment lists all across the globe, the JDC1 now shares the spotlight with its little brother logically called JDC2 IP. Small, not so much because the head of the fixture has seen its dimensions almost double.


The brand new JDC2 de GLP, the logical step further after the JDC1.

Speaking of its appearance and stats, it proudly has an IP65 rating and will therefore be able to follow you indoors and outdoors.
If we delve a little deeper into its technical data, we find out that its central line now has 84 10 W white LEDs (in other words, it’s awesome!).
This central bar is surrounded by 1728 SMD LEDs and can be controlled in several ways, which constitutes one of the major developments of this new version.

Using DMX and/or network, the fixture will occupy a maximum of 128 parameters to control segments of the LED matrix. One of the fixture’s modes also allows it to be 100% compatible with the JDC1 and therefore to interchange them at will!

The JDC2 IP integrates a new effects generator called DigiFX which uses the motherboard’s 3D-oriented dual-core processor to create a multitude of graphic visuals using each of the small SMD LEDs for very precise and fine-tuned renderings (and easily accessible via macros), almost worthy of an LED screen. While we’re on the subject, this 1,025 cm² pixel matrix can also be used as video support since the fixture can receive video streams in NDI via the Ethercon connector.


Here it has its removable Frost “lens”, used to soften the powerful LEDs.

Its head, still motorized in tilt, is equipped with a new protective glass specially treated to eliminate as much as possible unwanted reflections coming from other sources.
The device is also equipped with the GLP iQ Mesh wireless network accessible from a smartphone, the redundancy of which is automatically generated between the fixtures, it can also optionally be equipped with a CRMX Lumen Radio wireless module.

A small additional perk, the head can receive many accessories, we had the demonstration with a diffuser filter whose rendering suggests the patterns generated by the sources with a little more softness.


The first units of this half-strobe, half-pixel hybrid available for shipping by the end of March.

For more information on the GLP website

Ayrton’s Cobra Strikes the Right Light for Luciano

Throughout February 2024, German Rap artist, Luciano, worked his way across Germany, Switzerland and Austria on his Seductive tour. One of the first German-speaking rappers in the UK Drill style, Luciano was Germany’s most streamed artist on Spotify in 2022 and deserves nothing but the best for his music and outstanding live shows.

80 Ayrton Cobra fixtures were duly supplied by TDA CLAIR GmbH for this year’s tour and they proved to be a brilliant success for the show.


Cobra is Ayrton’s first IP65 laser-sourced fixture. Designed for rendering a D65 white point that allows perfect colour reproduction, Cobra has an incredible output of 386,000 lux at 20m, an unprecedented 38x zoom ratio and an incredible zoom range of 0.6° to 23°. It also sports a highly innovative colour section, unrivalled graphics capability and continuous pan and tilt.

The Cobra fixtures were specified by Stop Making Sense’s Timo Martens who created the lighting design for the tour with great support and cooperation from Bertil Mark (also from Stop Making Sense), and Raphael Demonthy.

The Stop Making Sense design collective was responsible for the entire realization of the stage, the lighting, the content production, as well as the programming and supervision of the project.


Martens explains why the Cobras were chosen for this tour. “In order to create the greatest possible impact with the lamps, so that we could practically make backdrops out of light, we needed a moving light that would provide maximum output with a low weight and a great CMY colour mixing. We compared a lot of moving lights and finally decided on the Ayrton Cobra, which we have not regretted.”

48 Cobra units were rigged around a specially made 10m circular truss upstage and 16 Cobra fixtures lined the catwalk. “The Cobras in the circle were primarily there to draw shapes and lines in space,” explains Martens.

“The basic idea was to create backdrops of light that extend across the entire width of the venue, or to be able to create a tunnel of light that extends through the whole venue, no matter how large it is.
We placed the remaining Cobras on the stage to use as floor lamps to provide additional options that gave the show even more variety.”

The technical team and lighting designers were extremely pleased with the overall performance and versatility of their choice of light. “In the end, it was a very good decision to put our trust in the Cobras, because the concept worked out perfectly,” confirms Martens. “We didn’t have a single breakdown on the entire tour. The Cobra light beams looked sensational and we have never regretted our decision.”


There was praise too for the service and back-up from both supplier and manufacturer: “We have always received friendly, excellent support from Ayrton and are very happy with such good cooperation. However, because the Cobras were so reliable, we didn’t have to put too much strain on customer support! TDA Clair always had an open ear for us and left nothing to be desired. We felt well looked after and supported at all times. Special thanks also to Captured Live for their trust in us, as they were responsible for production management and implementation.”


Credits:

Lighting Design: Timo Martens/ Bertil Mark and Raphael Demonthy
Design Collective: Stop Making Sense
Production Management: Captured Live GmbH
Technical service provider: TDA CLAIR GmbH
Rigging: Big Rig GmbH
LED walls: Faber Audiovisuals GmbH
Special structures: Satis&Fy AG
Pixera media servers: Rec Tec AG
Pyro FX: FOG SFX GmbH


For more information on Ayrton Cobra and Ayrton’s full range of LED and laser-sourced lighting fixtures, visit www.ayrton.eu

 

CAMEO OPUS X4 1400 W PROFILE AND THE LASER SOURCE ORON H2

Relentlessly continuing to offer new products in terms of lighting, Cameo has chosen Catalonia at the start of 2024 to unveil a range of new products. We meet up with Fabrice Dayan to guide us through the ranges.



The Opus X4 Profile and its 1400 W LED source

The Opus X4 Profile, the new IP65 flagship of the Cameo range.

Let’s start with the two major new Cameo products, first the Opus X4 Profile, the brand’s new flagship: an IP65 Spot/Profile moving head boosted by a 1,400 W LED source!

Dedicated to long-range applications where the power must be generous, it offers a source almost twice as efficient as the Opus X, housed in a body that, although imposing, does not ultimately take on exaggerated proportions. with a weight of less than 37 kg and will be easily carried/lifted thanks to its handles well integrated into the yoke

Although all its technical data has not yet been revealed, we already know that it houses a motorized framing shutters module, two gobo wheels, two progressive frosts, a 5/55° zoom/focus module, a trichromic CMY+CTO, an animation wheel, an iris, two color wheels… It looks like it will be very complete!

Laser source Oron H2

First steps in the world of laser source fixtures by Cameo with the Oron H2.

Next to it sits the Oron H2, the latest innovation for the brand, bringing it into the still restricted circle of fixtures equipped with a laser source.
The Oron H2 is an IP65 hybrid moving head focused on Beam and Spot whose new white source combined with its different modules makes it possible to obtain an ultra-tight beam with a minimum aperture of 0.6° up to a beam of 32°.

It is equipped with a trichromic CMY along with a linear CTO, two rotating and fixed gobo wheels, as well as 8 effects including prisms, a frost, or multicolor filter.
Its source uses a blue laser at a wavelength of 455 nm so the beam passes through a phosphor wheel thus creating the yellow color, remixed in the lightbox with the initial blue to obtain white, this same principle is used in some video projectors.
Here the rendering of the source would be superior to a 480 W type 20R lamp. Note in passing that the fixture has already obtained its FDA certification, essential for use in the United States.

The Azor W2

In detail, the specificity of the Azor W2, its white LED segments well hidden under black diffusers.

Next comes the Azor W2, a small wash moving head equipped with a LED source with extended colorimetry (RGBL), 7×40 watts that can be controlled pixel by pixel.
It contains a motorized zoom variable between 4 and 50°, thus quickly passing the beam from an honorable aperture to a very tight beam.

As for the little twist of this fixture, it is discreetly hidden on the contour of the output lens. This is where 4 segments of white SMD LEDs can be controlled independently, arranged under 4 diametrically opposed black diffusers which blend perfectly with the bodywork. This effect, which is quite energetic and can also create strobe bursts, is called Eclipse Burst.


The Azor SP2

The new Azor SP2 spot/profile moving head is dedicated to medium-sized venues.

As for moving head Spots, the new Azor SP2 is the first cousin of the S2 and has most of its characteristics, starting with its white LED engine with a power of 300 W, the same 5/50° zoom range, the trichromic CMY (second, and this is new compared to the S2, a variable CTO), a color wheel, the animation wheel, the frost, the prisms, etc.

The major difference lies in the presence of a motorized framing shutter module, thus placing this device in the category of Profiles dedicated to short and medium-range applications.

The only concession is that to fit all of these parameters into a rather compact product, you will have to do without the second (fixed) gobo wheel to free up a little space in the head, it thus keeps its main wheel equipped with rotating and indexable gobos.

The F2 FC

The F2 FC+, new in the conventional range, is a static fixture equipped with a Fresnel lens which, provides easier colorimetric compatibility for users, uses the same LED engine as the P2 FC, in RGB + Amber + Lime, source making it possible to achieve CRI and TLCI values respectively greater than 94 and 93 as well as a variable white between 1800 and 8000 Kelvins.

Otos multi-source wash fixtures

The three wash fixtures are Otos W3, W6, and W12.

Now let’s move outside (well almost) with outdoor fixtures. We first discover the new Otos wash version series with the W3, W6, and W12 models.
These IP65 moving heads are respectively equipped with 7x50W, 12x50W, and 31x50W LEDs as well as one, two, and up to three individually motorized zoom modules nested around each other for the W12.

In more detail, the front of the W12. We easily notice its three independent zoom modules and the aptitude of the LEDs for matrixing.

Behind each collimator there is an independently controllable RGBL LED for a complete matrixing effect. Additional effects are guaranteed thanks to the ring of RGB matrixable LEDs located around the contour of the head, the signature of this series.

Dura Spot for architectural use

Still in the IP range but this time IP67, we are presented with the Dura Spot series available in several static fixtures dedicated to integration and architectural lighting.
These products in “LED PAR” format (impressive for the largest) are available in four versions, between 3 and 20 x 20 W RGBW LEDs, with a tight beam angle of approximately 6° (other lenses, lockable filters, and accessories are available). The products are treated against UV and corrosion and have a 5-year warranty.


The new range of Dura Spot architectural fixtures, only the Dura Spot 60 (the most compact with its 3 LED sources), does not appear in this family photo.


All of these products will soon be available as of spring 2024.

For more information on the Cameo website

 

Robe Helps Power Red Bull Batalla World Final in Colombia

Bogotá’s Movistar Arena staged the 2023 Red Bull Batalla World Final, celebrating the creativity, importance, and popularity of freestyle rap culture in Spanish-speaking communities. The event was fully loaded with energy and excitement and lit by Madrid, Spain-based lighting designer Edu Valverde from design studio Experiencias Visuales.


Venue of the Red Bull Batalla World Final 2023 in Bogota, Colombia, on December 2 2023. // Gianfranco Tripodo / Red Bull Content Pool // SI202312030011 // Usage for editorial use only //

Edu utilized over 200 Robe moving lights to realise an eye-catching show design for the tournament which was attended live by a lively 14,000-capacity audience and streamed worldwide. On Edu’s lighting plot were 105 x Robe MegaPointes, 66 x Spiiders and 53 x BMFL WashBeams, all delivered by Bogota-based rental company, Linea Estratégica, who also take care of all things technical for the venue and were picked to deliver specific results for this spectacular show.


Edu has previously lit Red Bull Batalla tournament finals in Spain, the Dominican Republic, Mexico and the previous one in Madrid, in addition to several national finals in Spain, so he knows the brief, and was very excited to be working with a great team in Colombia on this one.
The 2022 event featured an LED screen and video heavy design, so in 2023, he wanted to turn this around and produce an equally dazzling environment but this time with “light being the main protagonist”.

The set design was similar to 2022, a collaboration between producers Babbla Studio, the Redbull Batalla team and Experiencias Visuales. A long and slightly quirky shaped runway stage allowed contestants to strut their stuff and connect with fans in the audience.

The objective was to create an atmosphere that reflected the intensity and energy of freestyle rap, explained Edu, and one of his methods was to have different lighting zones, some which were high contrast areas reinforcing the drama of stage entrances, others where the battles took place which were perfectly illuminated.”

Apart from the demands of live show lighting, the multicamera shoot, directed by Paulí Subirá and global telecast meant he had to light efficiently and effectively for camera, all the time not losing that critical connection with the audience that is so fundamental to rap shows and live broadcasts.
The distinctive runway design was fundamental to Edu’s lighting strategy. His aesthetic involved two types of ‘base’ light, one covering access to the runways filled with harder, more dramatic key light, achieved using overhead BMFLs cutting across the runway, working in conjunction with the second, a perimeter of MegaPointes creating a ‘beam corridor’ matching the movement of artists as they entered the battle arena.


Robe MegaPointe

The 105 MegaPointes were located around the stage and the runway, and used for a myriad of dynamic effects and to emphasize key moments. In beam mode, some defined the outline of the runway, both on the deck and from the overhead trusses creating those special kinetic effects in unison with the artists.
The balance of the MegaPointes were rigged on the perimeter trusses running in spot mode, utilized to create beams with gobos and aerial movements.

The 66 Spiiders were used to enhance ambience across the bleacher seating areas and on the arena floor as well as providing general room lighting, while the BMFL WashBeams were the event’s primary key lighting.
They were positioned perfectly to light the front section of the battleground and also cover the talent waiting area in addition to the runway overhead lighitng.


Robe Spiider

BMFL WashBeam


Edu wanted these three different types of Robe fixtures for multiple reasons. He likes BMFLs for their “uniform output and shutter system”. MegaPointes he selected for their sheer versatility, adaptability, and effectiveness as both beam and spot fixtures for creating effects and textures. The high performance of the Spiiders in saturated colors and their zoom capabilities were ideal for illuminating the audience. Before drawing up the design, he ensured that all these fixtures would be available for the show.

Linea Estratégica is well known for its quality and service for the Balatta. They supplied all the lights plus trussing / rigging, audio and a full show video package. Also being technical supplier at the Movistar Arena and very familiar with all its nuances, “everything went wonderfully smoothly,” noted Edu. Robe is one of Edu’s go-to brands that he regularly requests “for its innovation, reliability, and the exceptional quality of the optics and light coming out of the fixtures, all aspects that are crucial in live events.”


Fat N and Chuty perform during the Red Bull Batalla World Final 2023 in Bogota, Colombia, on December 2 2023. // Maximiliano Blanco / Red Bull Content Pool // SI202312030013 // Usage for editorial use only //

Among the biggest challenges of lighting this event was adapting the rig to the unique design of the stage and synchronizing with all the fully improvised performances which kept everyone on the edge, proving a great test of their imaginative agility, rhythmic and technical skills!
On top of that, creating an atmosphere suitable for both broadcast and live performance was a “significant challenge,” recalls Edu.

The get-in and set up time was tight, with only two overnight onsite programming sessions which were intense. However, good advance planning and the magic and convenience of visualization using WYSIWYG and Depence3 enabled Edu to leave Madrid with the building blocks already programmed, so on site in Bogota, the focus was on tidying up and finessing.

For him, the most interesting part of the project was creating a unique atmosphere to complement the vibe, vibrance and spontaneity of freestyle, keeping the focus on the artists.
“You use both organization and flexibility to tune in to the performances unfolding onstage in front of you,” said Edu, adding that a “harmony and understanding of freestyle culture also helps this process.”
Audience LED wristbands were also integral to the overall illuminated effects, providing a very homogeneous yet dynamic and constantly changing background.


Chuty wins the Red Bull Batalla World Final 2023 in Bogota, Colombia, on December 2 2023. // Maximiliano Blanco / Red Bull Content Pool // SI202312030014 // Usage for editorial use only //

Edu worked alongside a highly talented team including three production managers, Javier Svietozar (Red Bull), Enrique Garcia (Babbla Studio) and Yalesa Echevarría from local company Duir, plus Fabio Cuellar from Linea Estratégica; lighting operator David Carrasquillas, lighting programmer Juan Manuel Lazaro, sound engineer Felipe Lara and video content director Jaime Dusan from Nativo.

“The team was amazing! The local production and technical crews worked tirelessly and were super professional, throughout all the months planning and leading up to the setup and show. AND, the passion and enthusiasm of the Colombian audience added another fantastic and very memorable dimension to the event.”

The Batalla World Final 2023 was enjoyed by peak audiences of over 850,000 people tuning in to the livestream broadcast to share the action-packed series of thrills happening in the Movistar Arena. The tournament’s many highs included a rap-off between the then reining, and only three times, champion Aczino and popular challenger Chuty who emerged as the eventual Red Bull Batalla 2023 winner after a final battle with Fat N that saw both artists delivering incendiary performances!

For more info about robe Lighting, you can visit www.robe.cz

THE NEW ELEMENT OF THE PORTMAN RANGE

Portman introduces the P2 Evo Element. The new luminous “object” proudly displays the DNA of the Polish brand, namely a retrofuturistic design of LED technology and here equipped with new modularity solutions. It is also presented, here in video, by Dominik Zimakowski, CEO of Portman.




The new Portman here in two parts, the Evo Element, along with its E-CONN connector.

Visually, it looks just like half of a P2 Evo, namely three hexagonal sources, each equipped with a 60 W haloLED™ stick emulating a tungsten pencil lamp. Each cell is equipped with color backlighting, still based on RGBW LEDs (12 W per cell).

The fixtures offer DMX control via 6 different modes, RDM compatibility and, the W-DMX option. Note that for the sake of range compatibility, the P2 Evo and Evo Element share the same pixel dimensions, light sources, and basic accessories.

The big news comes from the E-CONN™, an adjustable multidirectional connector designed to connect several Evo Element modules. Each E-CONN connection outlet can have its angle modified over a range of 30°.


The famous E-CONN multidirectional variable angle module is seen in more detail.

We therefore have many design and assembly possibilities previously impossible to obtain with a classic P2 Evo which we obviously could not fold in half!

Vertically, with or without E-CONN, we can stack or suspend up to six Evo Elements (which would therefore amount to three P2 Evos), for a total of just over 30 kg.

Portman reveals to us that this will not be the only new thing of the year and invites us to meet at Prolight+Sound to find out more!


An example of how the Evo Element can be used, along with the S-Tribe at the Portman stand at the ISE 2024.


More information is available on the Portman website

 

Ayrton Lighting Fixtures and grandMA3 Control Love the Nightlife at LIV Las Vegas

Ayrton lighting performs for John Summit and Metro Boomin at LIV Las Vegas

With its expansion to the famed Strip, Fontainebleau Las Vegas has launched LIV Las Vegas, the city’s newest nightlife destination, which Lighting Designer Stephen Lieberman has illuminated with an array of Ayrton fixtures controlled by a grandMA3 light console. ACT Entertainment is the exclusive distributor of Ayrton and MA Lighting products in North America.


Fontainebleau Las Vegas brings a new era of luxury hospitality to the Strip and promises a night like no other at its LIV Las Vegas nightclub. The LIV brand from Groot Hospitality was born at the iconic Fontainebleau Miami in 2008. Now, its 50,000 square-foot counterpart in Las Vegas delivers high-energy, A-list entertainment to that city’s clubgoers making its 2,000 guests feel in the middle of the EDM action.

Lieberman, who is President of LA-area SJ Lighting, which specializes in production systems for nightlife and hospitality, already had designed the lighting for LIV Miami when his firm was hired to design and develop the theatrical system for LIV Las Vegas.
His team worked in collaboration with BWA Architects, Rockwell Group interior designers and Sound Investment AV audio designers.

“One of the challenges was having all the designers come together from different cities and make everything look coordinated, that’s as daunting a task as the actual design work,” Lieberman explains. “The theatrical lighting needed to include hybrid fixtures, wash lights to balance the look, strobes, LED strip lights, lasers and LED video panels with a high level of automation.


“The space is very fluid with a very clean layout and great sight lines: You’re able to do a lap around the first floor and second-level mezzanine and not get stuck in a dead end,” he says.
“Whether you are at a table or a bar, you’re an active participant in the show, and we did our best to make the experience as immersive as possible.”

The interior has soft, curved radial lines with an hourglass-shaped ceiling feature composed of two connected ellipses that move up and down. Another ellipse encloses six-part LED video panels, which also move up and down.
“There’s a lot of motion over the dance floor for a very animated environment,” Lieberman notes. Tables surround the dance floor and the mezzanine with bars left and right. The central DJ booth has enough counter space in front to serve as a performance stage, while coveted VIP tables are inside the booth.


Having had “good success with Ayrton Diablos in the past” Lieberman decided to use them at LIV Las Vegas. “We love their clean optics and nice aesthetic, and they have the right feature set,” he reports.

Ayrton Diablo

Forty-four Diablos do the heavy lifting throughout the space providing clean, even coverage from positions in the automated ellipses and under the mezzanine where they create layers of light.
The Diablos are supported by 48 Ayrton MagicDot SX luminaires. “We wanted to stay with the same manufacturer for the moving lights for ease of coordination,” says Lieberman.

“The MagicDots are compact, bright washes with zoom capabilities. Their 360º pan and tilt is an added feature for the rig.”

Six Ayrton Levantes are mounted near the stage for special looks and key lighting for the DJs and performers. “The Levantes were new to us, but when you build spaces like this having the right equipment for specials is critical.
Sometimes you have to allocate fixtures that are already part of the show. But here we didn’t have to sacrifice part of the big rig to light other positions. The Levantes have enough firepower, even when they’re throttled back, to cut through video and other lighting. They do exactly what we need them to do.”


He notes that his company’s close relationship with ACT Entertainment was a big factor in his use of Ayrton fixtures for LIV Las Vegas. “It’s important to us to not only choose quality equipment but also to have people who stand behind it supporting the gear. Having ACT behind the Ayrton line meant a lot to us.”

A grandMA3 light console controls lighting from a position in the DJ booth. It is interconnected with the video and automation control systems. “I’ve been using grandMA since the original version back in 2001, and we’re running grandMA3 in clubs now,” Lieberman reports.

“The light’s smaller footprint is key where space is at a premium. We programmed the system and trained the staff. We like to think we have a good philosophy of how to lay out the console intuitively in terms of what’s important to the operator. Within 48 hours the in-house operators felt very comfortable with the system.”

“Everything is performing fantastically,” he says. “The support we got from ACT was paramount to the success of the venue.”

More information on the full portfolio of innovative Ayrton LED and laser-sourced products can be found at www.ayrton.eu

 

THE FUTURE SGM I-3, A LONG-THROW WASH FOR THE POI ARCHITECTURAL RANGE

Denmark’s SGM, a leading specialist in architectural lighting fixtures, has unveiled a sneak preview of a compact, long-throw wash fixture that satisfies the most demanding technical requirements. Bruno Souchaud, the SGM sales manager in France for the architectural range, tells us about some of its features.



Designed for long-range use, the I-3 Wash POI (from the I – for “Intensive” – family) is equipped with a collimation system for each of the 93 individual coloured R-G-B-W diodes. There are no multi-chips here, and you can see this directly when the device is turned towards you. But this choice, which may seem anachronistic and baffling at first glance, is the fruit of a great deal of technical consideration.

Firstly, it turns out that where a long throw is required, this solution optimises the optical shaping of the beam while retaining the power and uniformity of the colourimetry. The appearance of the source is irrelevant because, remember, this fixture is dedicated to architectural lighting.
Another point is that the efficiency of the I-3 POI in shades of white is much greater as a result of this technical choice. SGM’s philosophy is to offer a fixture that is ultra-efficient in white but that can also do colour. The opposite approach would lead us to opt for the P3.


The I-3 Wash POI prototype debuted at the exhibition.

With its 11,000 lumen output housed in an IP66-rated unit measuring less than 30 cm in length, the I-3 is designed to offer a maximum of technology to its future users in a compact package that is well protected from the elements.

For example, it incorporates SGM’s patented DryTech active dehumidification system, as well as a dynamic power supply allocation function for the LEDs, to deliver precisely the right current required for optimum operation of the light engine, and thus provide equally precise control of the colour balance.

A close-up of the LED array. Each colour is collimated separately and carefully positioned to produce highly uniform projected lighting.

SGM offers a wide range of options, including a choice of collimating lenses depending on the user’s required divergence angle, from 8.5° to 60° (with an additional filter), as well as 10×60° and 12×39° elliptical and asymmetric fields.

Customers can also choose the colour temperature of the on-board white LEDs on request. They are available in cool white, warm white or even amber.

The fixture can be controlled natively using standard DMX, but can also be equipped (again as an option) with ArtNet & sACN or, if wireless is required, CRMX, as well as Airglow, Lumen Radio’s new ‘architectural’ standard (with range optimisation, direct Bluetooth control, signal repetition, etc.).

Presented here as an advanced prototype and therefore a preview, its official launch is scheduled for March. As we don’t yet have pricing details, we’re told that the cost of owning it will be in the same ballpark as that of the P3.

More information can be found on the SGM website

 

 

CLAYPAKY BUDDYLIGHT AND THE HY B-EYE K15 AQUA

Called Buddylight, the new Claypaky system for automated tracking is dedicated to small and medium-sized applications such as modern music venues, theaters, places of worship, conference rooms, etc. Compatible with several ranges of Claypaky products, it is intended to be easy to install and use, in particular thanks to its configuration interface accessible via WIFI.

It uses the technology of tags (small boxes) equipped with accelerometers and gyroscopes transmitting data by radio (UWB for UltraWideBand) and which must be worn at waist level by the potential pursuers. The wearer is equipped with a tag on the front or even another on the back, and can thus move independently in a space of 15x15m maximum.


The new interface for Buddylight servo tracking, on the left, is the central unit, on the right, one of the tags that can be used as a target or as a stage beacon.

Putting it into practice also requires placing at the four corners of the stage, four times two (so eight if you are following!) other tags identical to those worn by the speakers (they can be configured in target mode or zone delimitation mode). The physical base of the device, compact and very light, will be easy to hang on a lighting rig or structure.

The system uses the ArtNet network to communicate unidirectionally with the controlled fixtures and possibly the consoles which can access several of the software parameters. Finally, the tags are equipped with a few buttons allowing their wearer to intervene on the current light state if necessary. These switches can be programmed to have access to several different functions.
By adding several control bases and tags, The Buddylight will track up to 8 people simultaneously.

Video presentation of the Buddylight and the HY B-Eye 15 Aqua by Alessandro Melegaro, Digital Product Manager Claypaky




HY B-Eye 15 Aqua

The new wash fixture from the K range is waterproof, hence it is called “Aqua”.

Also unveiled for the first time in Europe since its recent launch in the USA, the HY B-Eye 15 Aqua, wash moving head with effects, is a perfect revisit of its counterpart but with an IP66 rating.

For the sake of uniformity, it has the same optical characteristics as the classic K15, 19 40 W RGBW LEDs as well as a 4° – 60° zoom and the famous system of rotating collimators for the Kaleidoscope effect, a specific brand of the range.

Although now equipped with a casing that acts as a barrier to intrusive elements, the K15 Aqua has gained only a little weight, boasting of weighing only a few kilograms more than the non-IP version.

The manufacturer has taken care to optimize the management of the pan and tilt motors of this new wash so that its movements are identical to its big sister in terms of time and inertia.

For more information check out the website www.claypaky.it

 

THE CHAUVET STRIKE BOLT 1C EUROPEAN PREVIEW

The new Strike Bolt 1C is a conventional LED bar-type fixture with a compact size, featuring a simple but professional design, full of ingenuity. First of all, it is IP65 so practical for the outdoors, even more so for maintenance, which is greatly appreciated.


The main view of the new Strike Bolt 1C is that it is equipped with floor stands. © Chauvet

The second major skill is its rigging/hanging abilities. Compatible for assembly with products from the Strike range, it brings with it a new suspension system (assembly without any tools) allowing up to 16 units of Strike Bolt 1C to be stacked vertically. You can thus create a real line array of fixtures, and given the overflowing energy of this little device, watch out for your retinas, sunglasses are highly recommended!

On the source side, the 1C has two rows of RGBA LED segments. Matrixable, the frame of two parallel lines of eight powerful white pixels mainly dedicated to the strobe effect but which can also be controlled independently. Do you follow me? Because this little piece of work never ceases to surprise us!
Another major innovation at Chauvet, its Smart Frost system uses LCD technology to electrically opaque the protective glass of the device. This system, already known in construction, domestic installations, or even more recently in public transport, is beginning to be used in the entertainment lighting sector.


The Bolt 1C’s LCD frost makes the glass completely opaque, the device’s new main feature. © Chauvet

The principle is simple, the protective glass through which the light is output is equipped with a diffusing film covered with liquid crystals which, when an electric current is applied to them, align and make the glass transparent. We therefore obtain a frost effect without moving parts with a very homogeneous rendering here and at the same time, very convincing!
The fixture therefore goes from a very punchy blinder to a soft colored wash fixture via a transition that is as fluid as it is instantaneous.

Plus d’infos sur le site Chauvet Professional

D&B AUDIOTECHNIK, READY FOR THE FUTURE!

Can d&b audiotechnik see farther ahead than we can? Judging by the new products presented at ISE 2024, it certainly seems that way. In this case, we’re talking about electronics and audio networking, with a new range of equipment all of which integrate as standard the Milan AVB network technology.
This is a further affirmation of the company’s desire to facilitate audio networking between sound systems, which seems only logical, given the development of the latest loudspeaker systems in both their traditional and spatialised configurations.


While the Milan network, using AVB technology, offers a number of attractive advantages for sound designers, it is clear that the tools needed to deploy it on a large scale among professionals in the industry have so far been less than convincing. To remedy this, the giants are coming together.

Looking beyond the spirit of competition and motivated by the joint commitment of the companies involved in the AVnu alliance, L-Acoustics and d&b audiotechnik have joined forces to develop a joint software package for controlling a Milan audio network that is tailored to the current needs of pro audio: Milan Controller.


Mathieu Delquignies

Mathieu Delquignies, Application Support for d&b France, explains: “d&b has been developing Milan AVB products since the DS20 in 2019. We made no secret of our support for Milan and were expecting to see a complete ecosystem emerge. Hive, the current Milan network control software, has been developed for several years almost exclusively by Christophe Calméjane at L-Acoustics, even though it is an open source solution available on GitHub.

“In order to continue its development, we have decided to join forces with L-Acoustics to produce a much more powerful software package that meets the requirements of today’s systems, to be known as the Milan Controller. It should be operational in approximately six months and will remain open source.”

Here are five new d&b products covering the entire signal chain, each incorporating Milan network technology as standard: the DS20 audio network gateway, the DS100M processor and the 40D, D40 and D90 amplifiers. Milan coexists on these units with the other Dante, MADI and AES interfaces, offering system designers all the flexibility they will need in the near future.

But why should we add yet another standard to those that already exist and are working perfectly well? We posed this question to Mathieu Delquignies, who answered with a series of rather serious observations: “First of all, the Milan network uses AVB technology, which has some very interesting features for us.
“The audio streams (and video, if necessary – ed. note) are conserved by the hardware. This guarantees their integrity and saves the designer from having to configure certain parameters such as QoS clock priority, IGMP Snooping or the creation of VLANs to guarantee bandwidth. There’s nothing complex to program, just connect it and it works: less computing, more sound.

“The Milan Controller software will be used to crosspoint, monitor, configure, and route streams and to manage sampling frequencies. Also, with the third-generation gPTP (Generalized Precision Time Protocol) clock protocol, Milan offers precision typically below a microsecond and theoretically down to a nanosecond.

“This guarantees perfect synchronisation of audio streams with a very low and fixed latency, which is quite essential when driving loudspeaker systems directly. Additionally, a CRF Stream clock stream is carried over the network and can be used as a conventional Word Clock reference by compatible equipment such as consoles, processors or preamps.”

Other benefits of the Milan network include transparent redundancy, enabling users to deploy two parallel networks. They will also be able to operate several synchronised sub-systems, at the same or different sample rates, while also sharing the same network infrastructure. It’s also worth noting that lucky Macintosh owners will be able to use the audio streams from the Milan network directly without the need for an additional external interface, since AVB is supported natively within MacOS.

The new D90 amplifier is the future replacement for the famous D80, which is already thirteen years old. It boasts four channels of class D amplification, of 5,400 W at 4 Ω (4 × 2700 W at 8 Ω) each, as well as the ability to manage Milan network streams directly. It incorporates the latest generation of DSPs, with even more headroom to accommodate more processing. It has kept the four AES digital and analogue inputs, as well as a flexible fallback system for transmitting a secondary signal, if necessary.


The D90, a new standard from d&b for the coming years.

The rear panel of the D90 has everything it takes to appeal to sound companies and system engineers.

Remote control and integration into sound systems are of course guaranteed by the d&b ArrayCalc simulation software and the R1 remote control software. Finally, careful attention has been paid to reducing power consumption.


Its little brother for touring applications, the D40…

… and the 40D amplifier for fixed installations are already equipped with an Ethernet connection as standard, and will also be compatible with Milan networks.

The DS100M. The look may look rather similar to its predecessor, but it packs more power, with Milan and MADI to manage more inputs/outputs.

Other products that will be integrated with Milan include the new DS100M processor.
The new unit device will be more powerful than the current DS100, which was introduced in 2018.
Its hardware has evolved, as well as its processors. It will incorporate processing that is identical to that currently used to manage Soundscape spatial sound systems and matrix solutions.


The rear of the DS100M highlights the new capabilities of this processor.

In addition to Milan compatibility, d&b has cleverly added MADI inputs/outputs, increasing its routing possibilities compared to the 64 channels of the DS100 model with Dante.


New clocks on the DS100M: MADI, WordClock, Milan and CRF Stream.

Depending on the requirements, clock synchronisation can be activated on the Word Clock, the MADI or on the dedicated Milan network clock, known as the CRF stream. With more inputs, the user can select from 128 MADI inputs, 64 Milan inputs, 128 MADI outputs, and 64 MILAN outputs. When used without a licence for spatialised audio applications, the DS100M can be used as a DSP matrix, making full use of all the MADI and Milan inputs and outputs for far greater possibilities.


And to complete the list of product launches, the Milan version of the popular and very useful DS10, the new DS20. Identical in design, the DS20 has all the features of this network gateway. It offers a Milan interface, four input channels and 16 AES output channels, plus five ports on the switch, which can be operated in standard or redundant mode.

The Milan-equipped DS20 on the d&b stand in Barcelona.

The DS20 also has a bypass mode. In this case, one AES input feeds four AES outputs and the switch becomes independent.
This is an elegant way of creating a 2-to-8 digital distributor that can act as redundancy in the event of a technical problem on the network.

Each input is equipped with a sample rate conversion function that enables any device operating at a different sample rate to that of the Milan network to be integrated into the network, such as a 48 kHz console on a 96 kHz network.

All these new products should be available on the market within a year.


In another important development, d&b audiotechnik and L-Acoustics are now collaborating with SoundPLAN, a German manufacturer that specialises in environmental sound modelling. For many years, d&b has been working exclusively with SoundPLAN to develop its free NoizCalc software, which allows users to simulate and limit the impact of its PA systems on the environment.


SoundPLAN, for determining the environmental spurious noise emission of a d&b system and, soon, also of an L-Acoustics system.

System simulations carried out in ArrayCalc or NoizCalc can be imported directly into SoundPlan, which then provides precise mapping of sound spillover, in order to assess the noise impact on the neighbourhood. By lifting this exclusivity, an exchange format will be able to be defined between the software of sound system manufacturers and the leading environmental noise simulation software.

Further information on new products from d&b

 

Sixty82 Welcomes Avenion GmbH to Their Reseller Network in Germany

Sixty82 is excited to welcome Avenion GmbH to its growing network of resellers in Germany. This addition aims to strengthen Sixty82’s presence in the German market and ensures that customers have wider access to its innovative products.

Avenion GmbH is making waves in the AV solutions sector with its fresh approach. Under the guidance of Matthias Matthes, Avenion has quickly become known for its innovative ideas and commitment to quality. Furthermore, the team has extensive experience in the areas of rigging and trussing.
As they continue to develop, Avenion is evolving into a full-service provider, broadening its range of offerings to meet the diverse needs of their clients. This collaboration between Sixty82 and Avenion GmbH is not just a business partnership; it’s a meeting of minds that share the same enthusiasm for the future of entertainment technology.


“We’re really excited to have Avenion GmbH join our team,” said Fokko Smeding, CEO of Sixty82. “Matthias Matthes and his crew are exactly what we look for in partners, they’re young, they’re innovative, and they’re all about pushing the limits of what’s possible.
We’re not just adding a reseller; we’re gaining a partner that shares our vision and energy. This is going to bring some great things to the German market, and we can’t wait to see where this partnership will lead.”

Matthias Matthes, leader of Avenion GmbH, shared his excitement about the collaboration, “Joining Sixty82’s reseller network is a big deal for us. It’s recognition of the hard work the Avenion team has put in and a chance to bring something new to the German entertainment scene. We’re all about innovation and pushing boundaries, so pairing up with Sixty82, a company that values those same things, is perfect for us. We’re ready to roll up our sleeves and get started.”

This partnership is more than just business, it’s a commitment to innovation and quality in the German market. Avenion GmbH will now be part of the extended family of Sixty82 resellers, ensuring that customers in Germany have access to the latest and greatest in trussing and staging solutions.

For more information about:

Robe Fortes in Heaven

Lighting designer Mikael Kratt was super happy to be among the first visiting creatives to use the Royal Danish Opera’s new Robe Forte moving lights in a recent production at the Copenhagen Opera House.
This was for Som I Himlen (As It Is in Heaven) a lively and heartwarming musical adaptation directed by Edward af Sillén of a 2004 Swedish movie telling the story of a famous conductor who returns to his small Swedish hometown in the North of the country to retire … and is asked to help with mentoring the school choir.


It was Mikael’s first time using Fortes, 80 of which arrived at the Copenhagen Opera House in summer via Robe’s Danish distributor Light Partner. The package features 32 x Forte Profiles, 34 x Forte Fresnels, 4 x Forte FSs (follow spots) and 10 x iFortes, all part of a technical upgrade that was installed just in time for the restart of the high-profile venue’s winter programme.


Som I Himlen is a co-production with Malmo Opera and was first produced there in 2021. Mikael has worked with the director Edward before and was asked to collaborate on this production by him. There were no Robe moving lights involved in that production as Mikael utilised Malmo Opera’s repertory rig. The entire creative team from the popular Malmo show helped to deliver the production in Copenhagen.

When the first discussions started with the Copenhagen Opera House chief LX Sune Schou, he mentioned that the move to having LED fixtures in the rig was imminent, and Mikael was also delighted to see Robe LEDBeam 150s on the kit list, which he has used before together with several other Robe products on his various projects.


With many intimate moments in the show, the set, designed by Kim Witzel, was pushed as far downstage and as close to the audience possible, where there were fewer rigging points for lights, and the orchestra, who figures prominently in the narrative, was upstage on a podium.

This was slightly tricky to manage in terms of lighting coverage, but with the Fortes in the rig, Mikael was able to light the action both efficiently and elegantly using both the profile and fresnel versions of Forte which he thinks are “brilliant!”


“The punch is great as is the quality of light,” he confirmed, explaining that the show is a pacey mix of classic musical production numbers and operatic drama for which the general style of lighting is realistic and lifelike.

“We wanted to present a series of relatable scenarios for the audience, as the story is about everyday people dealing with normal situations that can have a dramatic impact on their lives,” he explained. Much of the set was woody in colour and texture, so he also wanted to retain this natural warmth and emphasise the subtleties of different seasons and times of the day with lighting.


He loved working with the Forte fresnels which replaced the 5K HMIs he had used for the same roles in Malmo, commenting that he didn’t need to go above 60% most of the time due to the brightness. With approximately 10 metres of trim height, and some older hard-edged moving lights to augment, he noted “they are extremely powerful!”


Robe Forte

Fifty-seven Fortes are used in total for Som I Himlen, all rigged on house bars in the top rig lighting above the stage and the orchestra, with a couple more behind the scrim in front of the orchestra riser, which flies out to reveal the orchestra, and the full lighting rig in a spectacular moment, towards the conclusion of the story.
Other features he likes include the zoom range, which he says is “amazing” enabling wide shots to even be covered with one fixture in some cases, and no loss of output when zoomed out.

“Overall working with these Fortes made a massive difference to the scope and latitude I had to light the show and the detail that could be added,” he stated, saying that the colour rendition is “beautiful” all the way from the subtle pastels and intricate cold areas of the spectrum to the deep, rich blues and reds which were “gorgeous”.

The density and texture of the reds really surprised him, as LED luminaires can strain in these areas, but the Fortes retained their power and punch even in the darker colours.

For contrast, there was just one number “Fråga Arne” (“Ring til Arne” in Danish) in the show that broke from the realistic lighting aesthetic into a more traditional all-singing-all-dancing musical showstopper, and Mikael was even wondering at one point if the impact of a FORTE colour chasing might have been a bit over-the-top for this, but the treatment worked out perfectly. The Fortes also assisted in creating different rooms onstage.

The shutters were really helpful here, and some scenes were quite short and rapidly flipped to different places, so he was able to go from the naturalistic looks to harsher more abstract environments just with nuances in the light.


Mikael had initially been worried about the ‘banana effect’, light beam edge aberrations when zoomed in or out, as all his pools of light needed to be super sharp, “but even with fixtures zoomed out 100%, the edges are clean precise which is very impressive”.
He also appreciated the dimming curve which he describes as “excellent” for some of the very long and slow fade ins/ outs and crosses.

Four of the Opera House’s LEDBeam 150s were used for side fill light, rigged at low FOH positions, and these were cloned from Source Fours on the Malmo plot. Mikael has used LEDBeam 150s as side lighting before as the dimming, zoom and colours are “all great”, and has 8 on another show, Änglagård”(House of Angels), which is also based on a Swedish cult movie and is running to sold-out houses in Stockholm, and he spec’d 16 for Tootsie last year running at the same theatre, Oscarsteatern, where they were used as front and effects lights.

Mikael concluded, “It was great coming to the Royal Opera in Copenhagen, I had a terrific time. It was a delight working with Sune and his team of skilled lighting technicians and also my lead programmer Mikkel Bedsted who did a fantastic job. I had a total blast revisiting this musical once again and everything fell into place enabling us to create a production of which we are all very proud.”

For more info about Robe Lighting, you can visit www.robe.cz

 

THE NEW MOVING HEADS FROM PROLIGHTS: HYBRID 330IP ET JET HYBRID 200

Fabio Sorabella, Managing Director of the Italian company, presents two new compact Beam/Spot LED luminaires. These will now join the Astra and Jet series.



Astra Hybrid 330IP

The main newcomer to the Prolights stand, the Astra Hybrid 330IP is a Beam/Spot fixture suited to most applications, from small stages to large-scale productions (thanks to its 330 W LED engine), indoors or outdoors (IP65 certified), with the exception of long-throw applications.

With its sober, discreet design, the new Astra 330IP will fit right in with most applications.

Unleashing outputs ranging from 8,500 to over 15,000 lumens (depending on the beam angle), its 7,000 K native white light engine packs quite a punch. And it needs a certain amount to supply photons to the many different effect modules in the luminaire!

Let’s start with colour, which is achieved using a CMY system with three graduated colour wheels plus an additional (CTC)wheel with filters for adjusting the colour temperature.
This module is complemented by three (no less!) additional wheels, with dichroic fixed colour filters and filters for increasing the CRI.

Projections are provided via two gobo wheels, one with rotating patterns and one with static patterns, plus an additional animation wheel. There are also two prisms (radial and linear), all of which can be diffused to varying degrees using a dedicated frost filter. Its zoom lets you tighten the beam down to 3° or spread it out to a maximum of 50°.

The fixture’s 29 parameter channels can be controlled via DMX/RDM, ArtNet, sACN or wireless (LumenRadio Timo Fx module). Finally, its hermetically sealed, lightweight magnesium alloy housing makes this fixture impervious to humidity (IP65) for outdoor use.


Jet Hybrid 200

The Jet Hybrid 200, a new flagship in the Prolights Beam/Spot range.

The Jet Hybrid 200 features even more compact dimensions and a 200 W LED source. This flagship product, designed for small venues, delivers a beam divergence that can be described as a beam/spot hybrid, from 3.5° to 40°, via its motorised zoom module.

There’s no CMY here, but a wheel of 11 dichroic filters, with CTO filters (3200 K) and a high CRI filter (CRI 84 maximum), two gobo wheels (one with rotating gobos and the other with static ones), an interchangeable linear frost filter and a five-facet rotating prism.

These two new models, which will begin shipping in the spring, are priced at around €5,000 and €2,600 respectively, excluding VAT.

For more info, visit the Prolights website

 

Theatro Marrakech Upgrades to L-Acoustics K2

When Theatro Marrakech opened its doors in 2003, it was the very first nightclub in Morocco, and today, the 2,000-capacity venue still stages one of the most unique nightlife experiences in the world. Its consistent ranking as the best nightclub in Morocco, the best in Africa and one of the globe’s Top 50 has cemented the venue on the bucket list of travellers and artists alike.

Before becoming a nightlife hotspot, Theatro was Africa’s first music hall, inaugurated over 60 years ago, and from this past, the club has kept both its unique décor – a mix of dramatic theatrical and dynamic Moroccan themes – and an immoderate taste for show.

Upgrading to a professional sound system to defend world-ranking status

Defending a competitive and coveted spot on the world’s nightlife ranking means keeping up with the best technology and for that reason, Theatro Marrakech recently upgraded to a premium L-Acoustics K2 sound system to attract leading international artists who know and appreciate the brand.

The DJ Booth with the new L-Acoustics “Power Headphone” based on a pair of A15 Focus atop of a KS21. Per side. Groovy !

Inspired by a visit to Omnia Las Vegas and its L-Acoustics professional sound system, Theatro management worked with renowned Paris-based nightclub consultant Timothée Renard of the Fox Agency and L-Acoustics Certified Provider Integrator Potar Hurlant for the upgrade.
“Our main objective was to integrate a rider-ready sound system to attract internationally acclaimed artists and provide a unique experience for all of our clubbers, from the main floor to the intimate VIP areas,” commented Renard.

Timothée Renard and the POTAR team, with the support of L-Acoustics Application Engineer Pascal Charousset, created a unique sound design for each section of the space: the central dance floor, a mezzanine, an ultra-VIP lounge facing the dance floor, and a mini-VIP zone just behind the DJ booth.
The main dance floor and an upper balcony are covered by an L/R system of six K2 per side with four KS28 in cardioid configuration flown behind each hang, while three flown A15 Wide per side provide in-fill to the main dance floor while two A15 Focus per side are used for side-fill to a podium for performers and dancers.


Theatro Marrakech’s main dance floor and an upper balcony are covered by an L/R system of six K2 per side with four KS28 in cardioid configuration flown behind each hang while three L-Acoustics A15 Wide per side provide in-fill to the main dance floor.

The DJ booth is flanked with one KS21 per side, topped by two A15 Focus for monitoring. A tiered mini-VIP area behind the DJ booth has an LCR system of three A15 Wide for the upper tier while the lower tier is served by five X8 coaxials. A single KS28 and LR hangs of three A15 Wide cover the dance floor from this area. Fourteen LA12X and three LA4X amplified controllers drive the entire system over Milan-AVB networking.


Transforming a VIP Lounge

An ultra-VIP lounge below the balcony has a system of two hangs of one A15 Wide and one A15 Focus in front, with two additional hangs of one A15 Wide in the back corners and a ground-stacked KS28 topped by two KS21 subwoofers.

Three L-Acoustics A15 Wide per side provide in-fill to the main dance floor, and two A15 Focus per side are used for side-fill to a podium for performers and dancers

“We wanted to offer an unparalleled experience in the VIP area, creating a profound impact in the low frequency range. Our most esteemed guests deserve nothing less than to feel the music as much as they hear it,” comments Julien Antinoff, Communications Manager at Theatro Marrakech.

“The audio upgrade has received positive feedback from our patrons and artists. Experiencing the new L-Acoustics concert sound system is like stepping into a new dimension of clubbing. The VIP Area, specifically, is a testament to this transformative journey,” concludes Renard.

To get more about:

– Theatro Marrakech
– L-Acoustics
– “Screamin’ Pot” POTAR

 

ACT Entertainment Acquires Ambersphere Solutions

Ambersphere Solutions Ltd, a leading provider of professional lighting solutions in the UK, has officially become a part of ACT Entertainment, one of North America’s leading supplier of entertainment technology.
This acquisition is a testament to the shared values and long-standing relationship between the two entities, especially in their distribution of MA Lighting and Ayrton products.

From left to right: Glyn O’Donoghue, Philip Norfolk, Lee House (Ambersphere) and Ben Saltzman d’ACT Entertainment.

ACT Entertainment, renowned for its comprehensive offering across professional lighting, audio, video, and more, serves a broad spectrum of the entertainment industry’s needs. This exciting development promises to leverage the strengths of both companies to deliver products, technical service, and support to entertainment professionals worldwide.

“We are excited to bring together ACT and Ambersphere and continue to build on our mission of providing technology for our customers to realize their creative vision,” says Ben Saltzman, CEO of ACT Entertainment. “Just like ACT, Ambersphere prides themselves on offering industry-leading products with an accomplished staff of experts in sales, service, support and training.
I have tremendous respect for Lee (House) and Philip (Norfolk) and am excited to work alongside them as a valuable partner to our customers, extending our reach and continuing the strong tradition of excellence Glyn (O’Donoghue) created at Ambersphere.”

The transition sees the departure of Glyn O’Donoghue and Ken Sewell, with Lee House stepping up as Managing Director, alongside Philip Norfolk, who continues in his role as Sales Director. The focus remains on preserving the company’s core values while leveraging ACT Entertainment’s resources and capabilities.

Lee House concludes, “It’s business as usual at Ambersphere. Our collaboration with ACT has always been strong, and this move is a natural progression of our ongoing relationship.” This sentiment echoes the closer ties and shared values of both companies, emphasizing continuity and the mutual goal of maintaining the highest standards of quality and service.

About ACT Entertainment

ACT Entertainment, headquartered in Jackson, Missouri, is one of the world’s largest manufacturers and distributors of industry leading brands of audio, video, and lighting products, services, and education. ACT Entertainment is the choice of industry professionals reaching across six distinct markets; Concert Touring and Live Experiences, Retail Music and e-Commerce, ProA/V – Installation – Broadcast, House of Worship, Film and Television, and Industrial Wire and OEM.

More informations on the ACT entertainment website and the Ambersphere website