d&b Soundscape presentation indigo at The 02, London. Hosted by SSE Audio.

On October 23, 2018 d&b audiotechnik gave a presentation of their Soundscape immersive system, at indigo at The 02. The afternoon demo also included the venue’s newly installed J-Series house PA, installed by SSE Audio. Simon Duff reports.
These are exciting times for pro audio as many of the leading loudspeakers manufacturers introduce their immersive systems, designed to push the music and live industry forward. It’s going to be quite a journey.

The d&b audiotechnik Soundscape system has been developed over the past five years with work officially starting in 2013 but the idea had been in d&b minds for sometime. Kraftwerk at the Tate Modern Turbine Hall was the first time d&b talked about the topic in the press although it wasn’t called Soundscape.
The first projects which tried and tested the technology that became Soundscape were several Kraftwerk shows and the Ravenna Festival. This was followed by use at The Sydney Opera House on an operatic production.

Ralph Zuleeg

“For me it’s a crusade. I’m fed up with stereo. We have used all of the effects and compression, it’s time for something else.” says Ralf Zuleeg, d&b head of Sales Services and Application Engineering. Of course he’s right and Ralf has been at the helm of Soundscape.

The industry of live sound is now moving from producing wooden boxes with transducers inside, to becoming a solutions provider to meet customers needs, across the board.
It will be new live experiences and new business collaborations that will continue to break new ground in defining the industry as state of the art.

At the heart of the d&b Soundscape philosophy is the idea that live audio must provide audiences with new acoustic environments, that are exciting, engrossing and enveloping.
It aims to expand upon the traditional stereo image of left-right speaker positioning in a live setting by allowing engineers to place individual players’ musical performances in the mix to match their locations on stage.

Soundscape is based around the DS100 Signal Engine, a network controlled and Dante enabled DSP platform that enables signal management.
It comprises a 64 x 64 matrix with delay and level control for all crosspoints. With extensive signal processing of all inputs and outputs, integrated in the operating concept of the R1 Remote control software.

DS100 has two software modules called En-Scene and En-Space. En-Scene depicts stage scenarios with up to sixty four objects corresponding both visually and acoustically in 360°. En-Space is the acoustic simulation part allowing for emulation of reverberation systems. d&b have done a great job in sampling six top German concert halls. These convolution reverbs can be used in En-Scene with more concert halls to follow.

The DS100 Signal Engine.

Indigo at The 02 in London is a 2,750 capacity live music club, for music events, club nights, after show parties and corporate events which opened twelve years ago at the same time as The 02 arena. The Soundscape demo set up was based around a DS100 and 360° immersive d&b loudspeakers.
Presented on the stage of indigo by Oran Burns and Adam Hockley from the d&b Education and Application Support Team, with a small audience set on the stage surrounded by the Soundscape and suitably appropriate atmospheric and subtle green lighting.

Oran Burns from the d&b Education and Application Support Team gave the Soundscape presentation.

The main front loudspeaker system comprised of d&b Y-Series Y10P (x5) point sources, that have a dispersion angle of 110° x 40°. Front fills were d&b E6 (x5) with V-Subs (passive cardiod) underneath the E6s. The Surround Sound Ring comprised of d&b E8s (x13). All driven by d&b D80 amplifiers.
Content used for the Soundscape demo was on multitrack recordings, with each track routed via Dante to a Yamaha QL1 console, allowing for EQ and processing, then a direct out of each channel via Dante into the DS100.

The talk and playback started with a straightforward audio demo using a traditional Jazz quintet comprising female singer, bass, acoustic guitar and trombone. This demonstrated the difference between a mono mix made on a single bus (and a single Y10P), followed by a stereo mix made on a pair of busses and lastly a Soundscape mix were the instruments seemingly mixed perfectly inside the air without interfering one with each other. It worked a treat. Further demo material to show off Soundscape’s immersive, tracking and mix capabilities were provided by tracks from a live performance recording of Imogen Heap and Nigel Stanford’s Cymatics EDM.

A view from the balcony. The d&b loudspeakers were Y10P (x5) Front fills were E6 (x5) with V-Subs (x5). The Surround Sound Ring comprised of E8s (x13).

For a classical choir playback used during the demonstration, a number of channels in a Logic DAW recording were routed via Dante through the Yamaha QL1 console with each of those channels coming in on an individual QL1 fader then using a direct out into the DS100, via Dante. In the Matrix inputs of the DS100 each of those was put into En-Scene, the positioning element of the DS100.
En Scene then created a sound object for each one of the matrix inputs and that object appeared on a positioning view which was then placed somewhere in relation to the loudspeaker configuration. That was converted out of the DS100 via Dante into the d&b DS10 (Dante to AES Audio Network Bridge) then the D80s amplifiers were fed via the AES signal.

One of En-Space’s rooms.

The overall experience was of an entirely new, overwhelming, highly powerful emotional, precise point source sound, with little if any artefact and a remarkable localisation of the source on stage. At times during the choir the En-Space reverb was switched in and out to further demonstrate the effectiveness of En-Space. Soundscape is quite simply stunning.

Kraftwerk have been working with it for a number of years, positioning mix objects live from their stage positions, throughout the course of their show. Effectively this is artist and manufacture working hand in hand to deliver a new show experience.
For sure the way forward for many leading acts. For me especially in the contemporary classical and EDM genres. In the theatre world the system has recently been deployed for the anniversary of Andrew Lloyd Webber’s hit musical Starlight Express. Gareth Owen, Sound Designer on the show, has deployed two DS100s in dual redundant mode.

The J-Series house PA

The newly installed J-Series PA installed as the new house PA at the indigo, by SSE Audio, comprises of a total of four hangs of J-Series, two flown low left and right to cover the ground floor auditorium, with two further hangs flown higher to cover the indigo’s balcony seating. Each hang comprises six J-Series cabinets making a total of 24 across the four hangs.

The flown hangs of J and underneath the stage the J-Subs and J-Infras.

Six d&b J-Subs and two d&b J-Infra Subs have been installed underneath the stage apron to provide the bottom end to the system, with a further three J-Subs flown centre offering consistent LF coverage across the venue. Also under the apron are six d&b T10s to provide lipfill, with a single V10P left and right, ceiling mounted to provide outfill to the ground floor of the auditorium. In the upstairs balcony area six Y10Ps act as delays providing coverage to the rear seats.
The entire system is powered by the d&b range of installation amplifiers, with the audio for both FOH and monitors run entirely over a Dante network.
The background to the new install is that after 12 years service, the venue’s previous house PA system was beginning to show its age so the decision was taken to upgrade it. With such a diverse mix of musical genres and the venue’s broad mix of applications, coupled with the demands of some leading artists, a premium quality, rider friendly system was essential.

Alex Penn

SSE Audio Sales Director Alex Penn managed the sale and installation for SSE. He says : “The decision to go with J-Series for indigo was made by Rob Burrows Technical manager at indigo. For SSE it was a case of coming up with the optimum configuration that worked from both the audio and aesthetic perspectives.”
At the heart of the new system is a QSC Q-Sys Core 510i installed in the comms rack backstage, performing DSP and control for the entire system. At FOH SSE has installed a second Core 510i, configured as an I/O frame with analogue, Dante and AES inputs.
These inputs are used to connect both house and visiting FOH consoles into the J-system. SSE has installed three touch screens – at FOH, on stage and in the comms room, each with its own custom designed Graphical User Interface.

The QSC Q-Sys Core 510i DSP.

The functionality of each screen differs, applicable to its location in the venue. At FOH, engineers can route the console output through to the house system, make EQ adjustments to tailor the system to their own personal taste, and monitor amplifier outputs. To access the system each visiting engineer is assigned their own log-in, which allows them to recall any settings they have saved from previous sessions at the venue.
Indigo has constant stream of visiting engineers passing through and Burrows and his team wanted to give them an interface where they could access all the primary controls quickly and easily. The Q-Bys allows engineers to tune the system to their own personal taste and recall those settings each time they mix here. Then at the end of a show the team restore the default settings ready for the next event.

The d&b M4

As part of the package SSE supplied a comprehensive d&b geotechnical monitor system for on stage. Side fills of d&b V8 cabinets and V-Subs are mounted on dollies to enable quick and easy positioning.
A d&b V-G Sub with a d&b M2 monitor is used for drum fill and 17 d&b M4 monitor cabinets are available for the artists individual monitor mixes. The entire monitor package is again powered by the d&b installation range of amplifiers.

Rob Burrows is delighted with how the system sounds. “We have a system here that does justice to indigo at The O2’s role as one of the premier live music venues in the Capital. The system went live at the end of August, after a two week install and the response from promoters, engineers and the general public has all been really positive.”

Indigo at the O2. The balcony.

On the day of the October demo material used for playback to show off the new J-Series included the stereo album recording of Pink Floyd’s “Another Brick in the wall” and London Grammar’s “Hey Now.” Those attending the presentation were invited to walk the venue. Sound in both the auditorium and balcony areas was even across the frequency spectrum, powerful, full and detailed.

Alex Penn concludes, “It was great to work with Rob and the rest of the team at indigo once again. The result is a top sec system, which is simple to operate and will provide them with excellent service for many years to come. SSE have also recently completed install of a new PA/VA system at The O2 Arena and work in other parts of the building is on going. SSE are proud to be part of such an iconic structure.”

 

Final Ecodesign consultation period

The entertainment, live performance and film sector across Europe call on Member States to address urgent needs for stage and studio lighting. Brussels, 25 october 2018. The EU Commission has released a revised version of the proposed Ecodesign and energy labelling regulations.
The revised texts, which can be read in full at the end of this document, exempt a large number of significant tungsten lamps used in the entertainment, live performance and film industry, and provide several additional exemptions recognising the needs of the sectors.

Although the process so far has been successful and productive, there are still some important areas that need to be addressed, with the aim to continue providing the best experiences for film spectators and audiences of live events. As replacements on the market for available technical equipment is missing for certain special purpose lights used on stage and in film-studios, the following demands remain highly important:

  • Exemption from Standby Power mode and Networked Stand-by Power mode.
  • Exemption for White Light Sources for specific needs.
  • Colour tuneable light sources and widen the definition of wave-length of Green.
  • Lamp bases for exemption when used in Professional Entertainment Lighting Products.

The European Entertainment Ecodesign Coalition – a European-wide group of associations working in the entertainment, live performance and film/TV sectors, continues to support the overall aims of the Ecodesign regulations and is currently working through the appropriate channels to request these changes.

It has presented a joint statement to the EU Commission, which is available to read here.


While there are no guarantees of success, support and contribution from members states across the EU will be most helpful in this process. The regulatory committee will meet with the EU Commission on 17-20 December to decide on the final draft. The text is foreseen to be adopted in springtime and come into force from September 2021.

On behalf of the European Entertainment Ecodesign Coalition

  • The latest Ecodesign and Energy labelling regulations in full with the link here
  • For more information, or if you have any questions, please contact:
    Silke Lalvani – EU policy adviser – Pearle* Live Peformance Europe silke@pearle.eu

 

Musikmesse and Prolight + Sound 2019: Stronger together!

Two fairs at the same time and place: next year’s Musikmesse and Prolight + Sound will be held concurrently on all days, from 2 to 5 April. With a new sequence of days – from Tuesday to Friday – Musikmesse will strengthen its profile as the platform for the professional exchange of ideas and information between music-industry professionals.
The two events will also move physically closer together. For four days, visitors can discover the entire spectrum of products for the music and live-entertainment sector.

“Musikmesse and Prolight + Sound are combining their strengths. With all days now concurrent, we are complying with a request often expressed in the sector”, says Michael Biwer, Group Show Director of the ‘Entertainment, Media & Creative Industries’ Business Unit of Messe Frankfurt Exhibition GmbH. “The concept for 2019 emphasises the strengths of the two trade fairs: professionalism, internationality and the synergistic effects between the industries represented.”
The Saturday as part of the fair is not being cut but is changing to a new format with a B2C focus, which will be marketed separately. To be called Musikmesse Plaza, the new event will take the form of a pop-up market with numerous musical events and direct exhibitor sales on 6 April.
To this end, Messe Frankfurt is cooperating with several partners from the creative industry to guarantee a high power of attraction for musicians and music lovers. The Musikmesse Festival, which accompanies the trade fair for the music industry, is being extended by a day and will present musical highlights throughout Frankfurt from the Tuesday on.

Short walking distances, optimum flow of visitors

The layout of Musikmesse and Prolight + Sound is designed to achieve the best possible concentration of products groups and themes. For the first time, the whole spectrum of audio products will be concentrated in a single exhibition hall.

(c) Robin Kirchner

On an area of almost 30,000 square metres in Hall 8.0, visitors will find solutions revolving around public-address systems, permanent installations, studio and recording.
Opened in September 2018, Hall 12 is the optimum setting for the presentation of lighting, stage equipment, entertainment technology and event safety and security systems.
Hall 4 brings together associations of the music and event sector and is home to a joint business and networking area for both fairs. There, Prolight + Sound exhibitors also have the opportunity to make presentations in the heart of the Exhibition Centre.


Musikmesse. Les percussions dans le hall 3 © Mathias Kutt

Halls 3.0 and 3.1 spotlight the world of keyboard, percussion, plucked, string and wind instruments, as well as sheet music and equipment.

Rounding off the hall layout is Forum.0 for full-range companies and the Congress Centre with the programme for musical instruction.

Business first!

With free admission on all days of the fair, free cloakroom service, guided tours and many other benefits, the ‘Insider’ VIP programme means qualified dealers receive first-class treatment. In 2019, the programme will be extended to include buyers from the entertainment-technology sector. Now also part of both fairs is the Matchmaking programme, which brings exhibitors together with visitors of particular relevance to them.

Lumière, équipement scénique et réseaux occuperont le nouveau hall 12.

New next year will be a joint Hall 4.1 for Business and Networking for both Musikmesse and Prolight + Sound, which will take the form of an elaborate lounge with a lecture stage and catering zones, all designed to encourage business discussions in a relaxed atmosphere.

The right platform for every brand

From start-ups to key players: Musikmesse and Prolight + Sound support companies of all sizes to ensure perfect presentations. Companies can not only book exhibition space in the halls and on the outdoor area but also be part of the complementary programme of events.

On the new ‘Circle Stages’, exhibitors present event highlights in the heart of the halls. The stages are the ideal setting for product demonstrations, workshops, lectures, receptions or performances by endorsers. The enclosed construction ensures reasonable noise protection. In the evenings, Messe Frankfurt will join forces with companies from the sector to hold extraordinary concerts of the Musikmesse Festival on the Circle Stages.

The Live Sound Arena is being relocated to outdoor area F10 in the immediate vicinity of Audio Hall 8.0. There, Prolight + Sound exhibitors demonstrate PA and line-array systems under realistic conditions. Additionally, a Demo Room for indoor audio systems is in planning.

L’esplanade de démos live sera placée à proximité du hall 8 accueillant tout l’audio.

The organisers are also working closely together with companies from the sector for the Discover Music area for young people. Exhibitors are invited to donate instruments, give-aways or systems to this experiential world for musical explorers. By doing so, they can contribute to a successful project and make initial contacts between their brands and young music lovers.
Additionally, there will be several special areas where companies can present their products to specific special-interest groups of visitors. At Prolight + Sound there will be separate presentation areas focusing on event safety and security and digital signage. An area dedicated to instruments for left-handers is being planned for Musikmesse.

Fit for the future

Caught in a whirl of disruptive technologies, new standards and regulations, as well as increasing customer expectations, the sector is changing rapidly. Visitors to Musikmesse and Prolight + Sound have their finger on the pulse of the time and receive insights into tomorrow’s trends.
Following their successful première in 2018, ‘The Future of Music and Audio Technology’ seminars will be expanded and cover, inter alia, subjects that have a decisive impact on the global music industry, such as artificial intelligence, app integration and wearables for musicians. The programme is being organised by the Advanced Audio + Applications Exchange (A3E).
The ‘Immersive Technology Forum’ is also being continued. Companies of the event and media-technology sector will provide insights into best practices relating to 3D and spatial audio, virtual and augmented reality, 360° projection and holography.
New in 2019 are the ‘CAVIS – Congress for Audio Visual Integrated Systems’ seminars. They will focus on the growth market of permanent installations and give Prolight + Sound exhibitors the chance to present relevant products and projects.

Musikmesse Plaza to rock the Saturday

Immediately after the two trade fairs have closed their doors, the 1st ‘Musikmesse Plaza’ will launch a totally new event concept aimed wholly at consumers. Located in the eastern section of Frankfurt Fair and Exhibition Centre, this pop-up market covering a variety of themes and with direct sales by manufacturers and dealers will take place on Saturday, 6 April. By this means, Messe Frankfurt aims to raise the experiential factor to a new level and offer all exhibitors the chance to reach all specific target groups on all five days.

The main parts of Musikmesse Plaza include:

  • The ‘Vintage Guitar Show’ in cooperation with No. 1 Guitar Centre Hamburg where everyone can sell, purchase and exchange guitars
  • Special exhibitions on vintage drums, vintage concert audio and electric organs
  • A record exchange open to both private and commercial participants
  • Exhibition space for labels and other music-business companies
  • The ‘Accessories + Lifestyle’ thematic world with a broad spectrum of products from instrument equipment, via fashion and merchandise articles, to books, posters and photographs
  • Numerous events including workshops by top musicians, showcases by well-known artists and ‘meet-and-greets’
  • A grand final concert in the ‘Festhalle Frankfurt’
  • The ‘Discover Music’ project for young people will be continued on the Saturday and thus also be part of Musikmesse Plaza.

Further information:

Prolight+SoundMusikmesseMusikmesse PlazaMusikmesse Festival

 

Avolites Ai R8 Servers Map Complex Stage Design at Elrow Town

When the ‘bombastic’ Elrow Town festival landed in East London’s Olympic Park it had one main aim: to take revellers on a psychedelic trip through the Swinging 60s to Latin Samba. Challenged with serving up the eye-curdling visual effects was Philip Mayer of GaiaNova, using Avolites Ai R8 servers.
Main stage photos went viral, as attendees shared photos of its kaleidoscopic, swirling colours and enthusiastic performers kitted out in tie-dye clobber on social media. Headliners included Fatboy Slim and Idris Elba, as the up-for-it crowd danced to some of the best house and leftfield tracks around.


The Ai R8 server pumped out perfectly projection mapped content onto the complex 3D stage structure. The visuals were created by Wayne Ellis at Afterlife, along with some content from the Ai stock library. In addition, a live feed of 16:9 HD content from Fatboy Slim’s regular video playback team was taken and live mapped onto the stage’s panels, combined with some custom-made clips.
“Pre-programming involved building a 3D model of the stage within the R8 and dividing this in to several UV-mapped parts,” says Mayer. “There were a number of clips from Wayne that were encoded in to the Ai Server’s QuickTime AiM codec. I then created some palettes of appropriate clips from the Ai content library.

“Because Ai inherently understands how to display video as UV-mapped content on a 3D model, it was fairly straightforward to build a custom 3D model of the stage, and map this in such a way that regular 16:9 content would be intelligently mapped across it. By dividing the stage model in to several parts, I was able to send different video elements to different areas of the stage, and manipulate these all in real-time, working from the single 16:9 live video feed coming from the stage.”

Given that the festival was an outdoor event, the team only had the hours of darkness on the night before in order to make the complicated set up live show ready. “Using Ai, I was able to create the 3D stage model, projection map it, and have the live feed running across it, all within the first couple of hours of the overnight load-in,” says Mayer.

On the night, the show was performed on the fly, with Mayer at front of house, on comms with Fatboy Slim’s onstage video team, mixing and layering their live feed over the pre-rendered video clips playing from Ai.

“All in all, it went surprisingly smoothly, considering none of us knew quite which track Fatboy Slim was about to play next!” he laughs. “It was a good example of live collaboration, and the complete opposite of the fully timecode-playback ‘live’ shows I’ve previously worked on.”

The Ai R8’s outputs were routed through a Lightware 16×16 DVI matrix switch to four quad-stacked Barco 30k laser projectors, hitting the stage with 120,000 lumens of projected light. “The Ai servers worked flawlessly, as ever,” Mayer concludes.

The creative brief for the show came from the Elrow Town organisers, with the technical aspects being overseen by Mark Neil at Production Hire. Bob Jaroc was the video director and Stephen Abbiss was lighting designer for Fatboy Slim, using an Avolites Sapphire Touch.

More information on Avolites website and on Elrow town website

 

Nexo Recruits an engineering Support Manager

To set up the installation technical files by participating in the measurements and adjustements, to animate trainings on Nexo solutions, you have to be graduated of a higher education School, with a specialization in Audio, Acoustic, Electroacoustic, you have a minimum of 5 years experience in a similar position.

Clic on the image of the ad below to access:

Rycote acquisition by Vitec Group PLC

Vitec enters adjacent audio capture market with the acquisition of Rycote Microphone Holdings Ltd Rycote, the award winning UK manufacturer of advanced microphone windshields and suspension systems, is delighted to announce today that is has been acquired by The Vitec Group plc (“Vitec”).
Based in Stroud, UK, Rycote is a highly respected, market-leading brand, trusted by audio professionals and the leading manufacturer of advanced microphone windshields and suspension systems. Audio capture is an integral element in the creation of high quality videos and Vitec’s existing customers, whether broadcasters, videographers or independent content creators, already buy audio products.

This acquisition will therefore provide Rycote with the platform for continued growth and further advanced product development, as well as providing Vitec with a great opportunity to bring complementary audio products to their customers. Simon Davies, Rycote Managing Director, will remain with the company post acquisition and Rycote will become part of Vitec’s Creative Solutions Division, led by Nicol Verheem.

Simon Davies, Rycote Managing Director commented: “We are thrilled to become part of the Vitec Group and I’m really excited and confident that we can continue to go from strength to strength; designing, manufacturing and selling our fantastic Rycote products.
“We are looking forward to celebrating 50 years of Rycote next year and, as we enter into this new chapter, we remain committed to serving the needs of our professional audio customers and exploring other markets for our existing and new products.
“Vitec has an incredible portfolio of premium brands in the fast-moving and growing ‘image capture and content creation’ market, so this move also brings great opportunities for Rycote.”

Stephen Bird, Group Chief Executive of Vitec, commented: “I am delighted to welcome the Rycote team to the Group. “Vitec operates primarily in the video production market and this acquisition opens up the opportunity for us to enter the growing audio capture market, adding innovative and complementary products for our customers, and creating additional value for our shareholders.
“Rycote has exciting product development plans that will add real value to Vitec and our customers, and we look forward to developing the business.”

More information can be found at Rycote website and at Vitec Group website

 

Musikmesse 2019: new competition to honour innovative therapy instruments

Messe Frankfurt and the German Music Therapy Society (DMtG) will hold the ‘New Therapy Instruments’ competition on the occasion of Musikmesse 2019. Instrument makers, artists and music therapists are invited to develop and implement ideas for new instruments and sounds. The awards ceremony will be held during Musikmesse in April 2019.
The award is worth € 2,000. The competition will honour not only hand-crafted therapy instruments but also new digital applications, such as music apps.

The hang drum © Robin Kirchner

The condition for inclusion is that the products are suitable for use and helpful in one or more of the many areas of music therapy. They can be developments that are easy to employ, that have a special simulative nature, trigger impressive experiences or offer easier access to music for people with impairments.

Michael Biwer, Group Show Director of the ‘Entertainment, Media & Creative Industries’ Business Unit of Messe Frankfurt Exhibition GmbH: “Musikmesse is always open to new topics and product groups. In recent years, we have provided a platform for music therapy and its methods, and we want to expand this commitment in the future.
The ‘New Therapy Instrument’ competition is an important step in this direction and we are particularly pleased that the renowned German Music Therapy Society has agreed to partner us in organising it and thus position the subject prominently at the fair.”

Volker Bernius of the DMtG Board of Management: “From inclusion work to neurology: the use of music-therapy instruments is multifarious and new products, from which music therapists can profit, are continuously being developed. Our aim is to draw attention to this broad spectrum at Musikmesse. With the new competition, we also aim to boost innovation in the sector and make a contribution to the promotion of future-oriented projects.”

An expert jury of music therapists, musicians and instrument makers will select the most successful works from the entries. Decisive for the judging are criteria such as originality, design, ease of use and potential for therapeutic use.
The deadline for receipt of prototypes, including product information, is 31 January 2019. Full details about entries can be found at DMtG website

Musikmesse will take place in Frankfurt am Main from 2 to 5 April 2019.

Further information about at the musikmesse website

 

Ayrton appoints Ampco Flashlight Sales as distributor for Netherlands

Ayrton is delighted to announce the appointment of Ampco Flashlight Sales as its latest exclusive distributor in its rapidly expanding international sales network. Based in Utrecht, Ampco Flashlight Sales will be responsible for the distribution of the entire portfolio of Ayrton products across The Netherlands, with immediate effect.

With a history that stretches back 30 years, Ampco Flashlight Sales is a distributor, systems integrator and project house for both professional lighting and audio products. The company was responsible for the supply of all lighting, rigging, motion control and video to the Eurovision Song Contest 2018, including over 700 Ayrton fixtures, while its Rental division has recently invested in Ayrton Ghibli and MagicBlade-FX to add to its hire stock.

“To be a distributor for Ayrton is a gift!” says Ampco Flashlight Sales general manager, Peter de Fouw. “We have been looking at Ayrton with interest for a couple of years. Then came the release of the new progressive fixtures which really spurred us to talk to Ayrton and progress things further. Our communications with the team at Ayrton worked really well and proved that we are on the same level.
“The new Ayrton products like Mistral, Ghibli, Merak and now Bora and Khamsin are truly ‘daily bread’ fixtures and strong workhorses for rental houses and venues. For Ampco Flashlight Sales, this is an opportunity to bring to market the most progressive and state of the art range of products which serve our target market exactly.”

“We are happy to welcome Ampco Flashlight Sales to the Ayrton family,” says international sales manager for Ayrton, Jerad Garza. “Ampco Flashlight as an organization proved to be top-notch, especially from our collaboration on Eurovision this year. The reliability and road-worthiness of Ayrton products were more than evident on the show, which was the spark of interest that led us to this point. We agree that Ayrton’s products are an excellent match for Ampco Flashlight’s sales division as well and are excited by what our further collaboration will bring.”

Ampco Flashlight Sales can be contacted at:

Contact: Bas van Schelven – Proostwetering 50 – 3543 AH Utrecht The Netherlands
Tel.: +31 (0)30 242 8842 – Fax: +31 (0)30 242 8892
e-mail: bas.vanschelven@ampco-flashlight.nl


More information on Ampco Flashlight Sales and on the Ayrton LED fixtures

 

Anolis and ArKaos Announce Partnership

Architectural LED lighting manufacturer Anolis and real-time visual processing technology provider ArKaos … announce an innovative collaboration which will see the two brands working together on several future product developments. This will result in benefits to lighting and media designers and concept agencies using ArKaos and Anolis.

Anolis’s LED lighting, pixel-based fixtures and other hardware will have ArKaos’s newly launched cloud based communications protocol An-Ki embedded, meaning that the growing trend for video-mapped content being run through LED ‘media’ installations can be maintained remotely from anywhere in the world … thanks to the ArKaos cloud.

“This will add huge value to installation designers working in all fields” commented ArKaos’ MD Agnes Wojewoda, “It offers the possibility of fully flexible and stable control which will be added to future Anolis products, although the protocol will work with any LED fixture”.

“We are hugely excited to be the first brand to team up with ArKaos on this unique project alliance” stated Anolis MD Tim Van den Eede, “As two extremely strong and forward-looking European brands, working together, we can provide cool and comprehensive lighting and media fixture ranges and control solutions at affordable prices”.
Key areas and sectors of interest and activity will include digital billboards, interactive building and facade installations, corporate, industrial and commercial sales and cultural projects.
The move will involve a fluid bi-directional commercial relationship whereby ArKaos products like An-Ki and MediaMaster will be distributed by Anolis; while Anolis fixtures including ArcPix, ArcDots, DVPs and others will be sharing sales resources with ArKaos.
Both brands will be included on potential product specifications for projects.

It will mean that Anolis products can be supplied with a number of ArKaos’ flexible and proven media server control solutions on-board, and there will be huge potential for the existing customers of both companies to discover the flexibility of the other. New contacts can be presented with many creative options for both fixtures and control.

Customers who invest via one brand will get the ingenuity, quality, experience and support of both established partners. “Having media server and remote control technology like this as integral will set Anolis apart” confirms Tim.
Anolis underwent a major re-branding exercise at the start of 2018 when Tim was appointed as MD. He comments, “We and the team at ArKaos all share the same lively and proactive management style and can-do attitude, so we’re anticipating a long and proactive working relationship for the benefit of our respective client bases”.

Agnes concludes, “We are all looking forward to this combination of cutting-edge technologies – we will be able to offer faster, more flexible and even more versatile products and outstanding after-sales and client support”.

More information on the Anolis website and on the ArKaos website

 

Denny Arndt Fuses Light And Nature At Berlin With Chauvet

Housing 22,000 plant species within its beautifully maintained 43-hectare complex, the Berlin-Dahlem Botanical Garden and Botanical Museum stands out as a verdant oasis in midst of Germany’s bustling capital, just as it has for over a century.
A highlight of the year at this world-renowned facility is its Summer Festival, which features botanical exhibitions and a specially crafted Botanische Nacht live show.

This year’s show, which featured 160 artists, musicians and other performers, was built around the theme “The Light of Nature.” Lighting Designer Denny Arndt helped to bring their performance to life by using 150 Chauvet Professional Epix Strip IP fixtures, supplied by TLT Event AG, to create a vibrant and flexible lighting panorama at the Botanical Garden’s central greenhouse.

With the performances leading visitors through various botanical themes in the main Viktoriahaus tropical greenhouse, Arndt’s design created the “supernova impression” of light being released into the garden and night sky. Arndt specified the ultra-thin Epixlinear fixtures to provide a discreet linear arrangement upon the building’s structure.

“The Epix had two key functions within the show,” said Arndt. “Firstly, their modular and discreet linear structure served to highlight the contours of the magnificent Viktoriahaus – the Botanical Garden’s most famous building. And secondly, they provided great illumination effects in support of the program, heightening specific moments with bursts of energy and eye candy.”

Thanks to the Epix Strip IP’s linear 1-meter long appearance and 100 pixel mappable leds, Arndt was able to utilize the Epix fixtures to create a number of different looks. “I can’t stress how versatile the Epix fixtures are,” he said. “In addition to pixel mappable effects and strobing to highlight performance numbers, the Epix were singularly responsible for creating the ‘gap’ effect through which the light from the tropical house appears to break out – a moment which led to beautiful ‘Oohs’ in the crowd.”

From the experiences of the last year, Torsten Moraske (Production Manager for the Botanical Night) and Arndt were all too aware of the changeable and unpredictable Berlin weather. As a result, all specified fixtures were required to be reliable in both dry and wet conditions. With their IP65-rated housing, the Epix fixtures could withstand unstable weather conditions.

As a result of Arndt’s strategic deployment of the Epix fixtures, the fusion of light with the natural elements within the Viktoriahaus – such as orchids, carnivorous plants and giant white water lilies – was a success.
“From structural highlighting to independent lighting effects, the Epix succeeded in producing a number of varied looks for a variety of situations,” concluded Arndt. “Creativity has few limits with this fixture!”