Two evenings under the spotlights of the Coccia Theater in Novara, Italy, marked the Italian debut of the Fletcher Machine, the immersive audio processor designed and created by Adamson with concerts organized by the CM Orchestra in collaboration with MG Service and Audiosales Entertainment Solutions.
On stage was the musical project written by Claudio Mazzucchelli – co-founder of the orchestra and director of the two shows – and interpreted by the 50-piece CM Orchestra Rhythms & Drums directed by Maestro Andrea Pollione. A story in music, through which the director wanted to relive the soundtrack of his life, together with the audience, where everyone can recognize passages of their own. An exciting choral play of sound, light, and color designed to immerse and excite.
Claudio Mazzucchelli, Artistic Director and Concert Technician said “With the CM Orchestra we looked for an audio system that was capable of interpreting the skill of each individual musician adding the ensemble quality of the whole orchestra and reproducing it to the audience.” Together with the Fletcher Machine, the Adamson sound system centered on 5 hangs of Adamson’s S7 ultra-compact line array cabinets.
The 5 hangs of Adamson’s S7 are visible at the vertical of the stage.
The lighting setup was born from the technical and artistic collaboration between Claudio Mazzucchelli, Nicolò Damiani – Lighting Designer of MG Service – and the Lighting Product Specialist of Audiosales Mattia Fasolo. More than 80 ClayPaky moving heads were chosen for the events to help create an original and enveloping atmosphere.
Spandau Ballet singer Tony Hadley.
The evening was highlighted with the extraordinary presence of special guest Tony Hadley, frontman of Spandau Ballet.
The events were made even more grandiose by the introduction of the Adamson Fletcher Machine, an ultra-high resolution audio rendering processor capable of transporting the spectators’ minds directly to the stage, just as if they were themselves at the center of the orchestra.
In the words of Mazzucchelli, “with the use of this system, the individual audience member listens to what I have heard, in an extraordinary way, immersed in the musicians, receiving their individual music .”
The Adamson Fletcher Machine offers a wide variety of spatialization tools, relying on a new development where the object placement is based on both amplitude and time localization. This allows the listener to have a more direct connection to the music.
The resulting sound, concludes Mazzucchelli, is “direct, immediate, without filters, without delays and without mental fatigue.”
To discover more in-depth the Fletcher Machine and Adamson, click here
The St. Jakob Park, locally referred to as “Joggeli”, looks back on a long history. The largest stadium in Switzerland follows a new construction managed by the architects Herzog & de Meuron. After several extensions, St. Jakob Park is the first multifunctional venue in Switzerland with apartments, a shopping center, restaurants, department stores, and is also a UEFA Category 4 stadium.
During the most recent modernization in 2020 and 2021, the owner, FC Basel 1893 renewed the entire sound system with RCF sound systems.
The grandstand PA system comprises 205 HL 40 line array elements, 30 HS 2200 high-performance subwoofers for the main PA, and ten HVL 15 loudspeakers for the corner PA.
The under-balcony PA system and the entire grandstand PA system have been upgraded with RCF loudspeakers. Power amplifiers and audio matrix systems have also been replaced. In particular, the client chose passive systems of the HL, HVL, and P series from the Italian manufacturer to renew and improve the sound experience.
Since the modernization took place during running games of the season, the team around Martin Reich (audioconsulting ag) implemented the renewal of the audio system in three phases. First, the amplifiers and the audio matrix were replaced, followed by the installation of the under-balcony fills, and as a final step, a completely new sound system for the grandstands.
Martin Reich, CEO of audioconsulting ag.
Martin Reich, CEO of audioconsulting ag, draws a first positive conclusion: “After the first few games, we have received very positive feedback. The music reproduction and the coverage by the new RCF systems have become more homogeneous in comparison, and speech intelligibility has also improved distinctly.
With the line array systems, we can make much finer adjustments in terms of quieter and louder sections than was ever possible with the previous point-source loudspeakers.”
One of 330 P 4228 loudspeakers, specially manufactured in Basel-Red color.
Due to the high acoustic requirements of the UEFA directive for a stadium sound system, the excellent experience with RCF loudspeakers in several Bundesliga stadiums, the decision was made to install loudspeakers from the HL, HVL and P Series.
In total, the grandstand PA system comprises 205 HL 40 line array elements, 30 HS 2200 high-performance subwoofers for the main PA, and ten HVL 15 loudspeakers for the corner PA.
A total of 330 P 4228 loudspeakers, specially manufactured in Basel-Red color, are used to reinforce the under-balcony areas and the walkways.
Georg Hofmann, head of the RCF Engineering Support Group in Germany.
Georg Hofmann, head of the RCF Engineering Support Group (ESG) in Germany, talks about the installation: “With such a large installation in a stadium, it was not only necessary to take into account the structural and acoustic conditions, but also the use during operation.
With the new RCF system, St. Jakob Park has a sound reinforcement system that has both optimized voice reproduction, including emergency alerts, and massively improved music reproduction, in terms of sound quality and power output.”
The HVL 15.
The RCF systems fulfilled all benchmarks in the decision of FC Basel 1893 as operator of the St. Jakob Park stadium and audioconsulting ag as an installer. The most important criterion was the improvement in speech and music reproduction, which is largely achieved.
The audio system is also used for safety-related announcements, so it must guarantee the requirements of the Swiss SES guideline SN EN 50849.
Equally crucial was a seamless transition from the old to the new system and excellent weather resistance and reliability parameters during day-to-day operation. The system can be controlled and monitored remotely, virtually down to the smallest transducer.
– HVL 15 – HL 40 – HS 2200 – P 4228
For more information about RCF, Audioconsulting ag or the St. Jacobs Stadium:
In northern Ohio, where the legendary Paul Brown began his football career and founded the NFL’s Cleveland Browns franchise, they take the sport seriously. So, when it came time for the school to upgrade the sound system at its Paul Brown Tiger Stadium, the stakes were high.
The school invited multiple firms to participate in a loudspeaker shootout. Cleveland’s NPi Audio Visual Solutions won the job with its demo of the new Electro-Voice MTS point-source loudspeaker system.
Driven by Dynacord IPX10:4 amplifiers, the very high output (up to 155 dB peak) and long throw of the MTS loudspeakers, combined with their tight and even dispersion, enabled NPi’s three-zone design to deliver both the control and the intelligibility the venue was seeking.
Trois MTS-6154 en pleine écoute. La boîte du bas est cardioïde.
Dave Goff, the stadium’s Press Box & Media Manager, was project manager for the school. “This was a three-way challenge for us,” he notes. “The home stands feature an extended roof line that creates intelligibility issues, while the visitor stands require only direct sound.
In addition, the team wants the sound on the field to be loud pregame and halftime to pump them up, but we want levels in the stands to be conversational. NPi addressed all these issues effectively with the EV MTS system.”
Les trois MTS-6154 sont fixées par des plateformes conçues sur mesure au sommet du tableau d’affichage vidéo, les unités extérieures étant orientées vers les tribunes.
Designed specifically for large-scale applications, the MTS series uses innovative technology to provide a true point-source experience that is perfect for stadiums. By combining four 15” woofers with dual coaxial mid/high compression drivers via a single waveguide, MTS boasts cohesive output with strong bass response. The cardioid version used at Paul Brown Tiger Stadium adds two more woofers for low-frequency directional control, creating a tight 40 x 30-degree dispersion that reduces unwanted spill.
Un coup d’oeil à l’intérieur du MTS-6154 montre deux des quatre 15” (bobines mobiles de 3”) fixés sur le grand guide d’ondes à directivité constante d’un mètre de côté, et couplés à deux moteurs coaxiaux à double membrane annulaire pour les médiums et les aigus utilisant un convertisseur de forme d’onde Hydra. Deux autres 15” sont montés sur les côtés de l’enceinte dans une chambre acoustique séparée pour assurer le fonctionnement cardioïde.
At Paul Brown Tiger Stadium, three MTS-6154-43 boxes are secured by custom-designed platforms atop the video scoreboard, with the outside units angled toward the grandstands. This creates separate, controlled audio zones for on-field sound as well as the home and visitor grandstands.
NPi Director of Sales Sam Avellone designed the system and Jason Brown managed the project, proudly noting that Paul Brown Tiger Stadium was the first major installation of MTS in the U.S.
Un des deux 15” dans la chambre acoustique, sans cache pour la photo.
“We worked with EASE models and our EV rep, Jason Jacquemain, to finalize the design. Jason was also instrumental in scheduling the MTS demo at the stadium,” Avellone says.
“What I love about MTS is getting both an effective point-source system and the ability to direct and control the sound. When we did the demo, using just one MTS speaker, it was stunning
La réponse en fréquence impressionnante du MTS-4153. 55 Hz à 18 kHz à -3 dB et même 50 Hz à 20 kHz à -10 dB. La version 40° x 30° délivre sur un programme musical (facteur de crête 12 dB) 152 dB SPL et même 155 dB sur un bruit rose filtré entre 100 Hz et 5 kHz.
We walked the whole stadium, top to bottom, and were blown away by the coverage and clarity. And of course, the final installation is even better. We’re very proud of it.”
The MTS loudspeakers at Paul Brown Tiger Stadium are fully weatherized (partially weatherized versions are also available) and all MTS models are IP55-certified for protection against dust and water ingress. Each of the three boxes is powered by one Dynacord IPX10:4 amplifier.
La polaire verticale de la 40° x 30°. Les 30 degrés sont respectés de 350 Hz à 18 kHz. Chapeau.
La polaire horizontale de cette même enceinte. Même commentaire. 40° de son et rien dehors. Bravo à Electro-Voice. Le design bi-amplifié à trois voies, augmenté d’une chambre cardioïde nécessite 4 canaux d’amplification, deux pour les quatre 15”, un pour les deux 15” cardioïdes et le dernier pour les deux moteurs coaxiaux. La fréquence de coupure active est réglée à 450 Hz et celle passive à 3,6 kHz.
Les deux derniers chiffres indiquent la directivité, ici 40° x 30°.
Equipped with OMNEO IP networking architecture enabling Dante and OCA/AES70, IPX models feature 96 kHz high-resolution DSP with ultra-low latency and a superior signal-to-noise ratio, along with unique technologies for energy efficiency and system protection. The amplifier rack is neatly housed in a converted ticket booth, allowing the system to work with the Q-SYS front end in the press box as part of the stadium’s Dante network.
To ensure proper operation of the system, NPi provided a simple tablet interface that allows the stadium’s AV team to deliver clear, full-range audio at the appropriate volume level to all three audio zones. “It’s a night-and-day difference from our old system,” says David Wagner, Scoreboard Operations Manager. “What amazed me was the system’s ability to control levels while actually improving clarity in our home stands, especially under the roof. This new EV system really makes the fan experience more enjoyable, which was really the whole point.”
– 3x Electro-Voice MTS-6154-43-CFWB point-source loudspeaker systems with cardioid woofers, fully weatherized, in black – 3x Dynacord IPX10:4 DSP power amplifier, 4 x 2500 W
For more information on this installation and the products deployed with:
Auckland, Aotearoa New Zealand based design studio Filament Eleven 11 is a creative tour de force combining the talents and imagination of lighting and visual artists Rachel Marlow and Brad Gledhill. Working across multiple genres: theatre, opera, dance, rock ‘n’ roll’ live events, installation, and light art and embracing a mix of medias and light forms, the company is known for its innovative and fun approach to enhancing storytelling with this unique form of expression.
Elemental Festival / ‘Stab in the Dark’ – courtesy Filament Eleven 11.
Filament Eleven 11 also owns some specialist lighting and control kit, and this year invested in Astera wireless LED products – AX3 LightDrops and NYX Bulbs – which have been busy on several projects. Three AX3 LightDrop kits (24 in total) and 30 x NYX Bulbs were purchased from Astera’s New Zealand distributor, ULA Group, in the last year for use as “ultimately useful lighting tools” commented Rachel, and since then, she and Brad have both enjoyed using them creatively and inventively in multiple contexts on a variety of productions.
Both were already familiar with the Astera brand and its products, they had used them on a few shows including AX3s and AX1 Pixel Tubes as part of Rachels’ lighting scheme for “A Stab in The Dark” by Carl Bland, staged at the Q Theatre in Auckland, a production that was also livestreamed. With puppets as well as live actors onstage and the puppets needing extremely careful lighting to retain all the magic, drama, and complexity of the puppeteering, the AX1s and AX3s were a great solution that could be moved quickly and easily around the stage without any cabling worries, helping to disguise all the puppeteer’s actions.
photo Filament Eleven 11.
“A Stab in the Dark” was also streamed adding an extra layer of visual challenges to an already intricate lighting process, so the Asteras were great all-round asset.
Rachel explains that before making the commitment to purchase the fixtures, they had heard much general chatter out in the community about Astera and the products, so looked at what was available and thought these would be perfect for the many moments when it was necessary to get a fully DMX-controllable lightsource into unusual, different, or sometimes near impossible positions!
“We immediately saw a host of possibilities and appreciated things like the high-quality light output that drove the initial purchase,” noted Rachel, adding that they wanted to go LED as much as is possible to boost sustainability. The conclusion was that it would be a great all-round move to have some Asteras available for their various works which are known for their ingenuity and impact.
The NYX Bulbs were purchased after a demo from ULA Group’s technical sales specialist, Sean Rosig, who encouraged them to look. “As soon as we saw them in action and had a play around, we knew we needed these and that they would be great fun and very useful!” commented Rachel.
‘Scenes from a Yellow Peril’ by Andi Crown.
The first show for Filament Eleven 11’s own NYX bulbs was “Scenes from a Yellow Peril” a poetry show staged at Auckland’s Waterfront Theatre, where they were used in a long line upstage for a reveal. In the same production, the AX3s were used to light the band, the cast, and a large costume set piece which was part of the design dramaturgy for the penultimate poem of the performance, where the entire band were struck live by the cast and musicians! The wireless AX3s were a perfect light to be quickly removed and easily reset each night!
Rachel first incorporated NYX Bulbs into “The Writer” by swapping out the Q Theatre’s backstage ‘blue’ system for the NYX’s, creating a dynamic colour changing and flashing DMX controllable format, the effects of which could be woven into the production’s narrative. The powerful performance piece addresses the contemporary issues of creativity, gender inequalities and power in a theatrical context!
Photo Andi Crown
In the same production, NYX bulbs worked brilliantly in domestic house settings for the living room and kitchen scenes, setting the mood as they could be turned on and off, colour changed and dimmed. Some of them were rigged on small Wahlberg winches which flew in and out from the ceiling.
Both the Filament Eleven NYX Bulbs and AX3s were used during the 2022 Elemental AKL Festival in downtown Auckland to illuminate all the iconic Town Hall venue’s foyers and public areas flooding the spaces with colour, kinetic patterning and vibrance! The NYX bulbs have also been used as collapsible, flying standard lamps and in many other scenarios.
“They are just so versatile,” declared Rachel, “The AX3s and NYX Bulbs help solve constant design issues and challenges, and being battery powered and wireless, they can be used absolutely anywhere!” They have used them for footlights and as small blinders, even as truss warmers, was well as for general “trick of the light” applications.
Bradley recently used AX3s on an in-the-round show for soul artist Teeks at the Spark Arena, he and his band were on a revolve, so AX3s were again a perfect neat and wireless solution with no cable runs!
Sean Rosig commented, “It’s always a pleasure to work with Brad and Rachel, especially watching their faces light up with excitement when receiving their new fixtures! I specifically appreciate how they have explored the versatility of these lighting fixtures and used them do creatively to enhance their lighting designs.”
Teeks show set up – shows Rachel Focusing – photo by Tom Grut.
When not in use on their own shows, there’s been constant demand for the luminaires as dry hire items, all adding to the value of purchasing, notes Rachel. “We are always finding new and different ways of using them and discovering design opportunities through having these products to hand! We have only just got started on this and we would absolutely not be without them now!” she concluded.
Robe Lighting, Inc. is deeply saddened to announce that John Bilyk, a well-known and colorful figure in the Canadian and American stage lighting communities, died on the evening of December 11, 2022. He was 70 years old. John passed away at home peacefully, after a nearly year-long battle with brain cancer, and he is survived by his wife, Tracey.
John had a storied career in stage lighting that spanned 40 plus years. However, one of John’s early formative work experiences was with a men’s clothing store in Winnipeg owned by Marc Raymond.
Raymond later co-founded Westsun, which grew to be a major Canadian production and installation company. Soon after, John started his stage lighting career at Westsun in Winnipeg. John then relocated to Toronto, partnering with Brock McGinnis to establish the Canadian lighting distribution firm Novatec.
Novatec represented notable lighting manufacturers including High End Systems and Celco in the Canadian marketplace. He then joined Fourth Phase (later to become PRG) who had purchased Westsun, to establish one of the first used stage lighting sales outlets, 2nd Stage.
John then joined Vari*Lite as the Canadian Sales Manager for several years, reconnecting with Bob Schacherl, whom John previously knew from High End Systems. Shortly after Schacherl joined Czech lighting manufacturer Robe lighting s.r.o., John rejoined his former colleague as Robe Canadian Sales Manager in 2016, where he worked until his passing.
Robert Mokry of LightParts Inc. said, “I met John when I was a sales rep at High End in the 90’s. I was assigned to manage Canada, and our distributor was Novatec. I was fortunate that John and I soon became close friends, in addition to our business relationship. I had never met anyone quite like John, and still haven’t.”
Mokry continued, “First off, John was always a very snappy dresser. I don’t ever recall seeing him in a t-shirt in the 30+ years I knew him, even when we shared hotel rooms while on the road together. He was just such a smooth character, but also very down to earth. We could dine on fancy French food and fine wines one night, and greasy Tex Mex and Corona beer the next night, and he was equally happy.”
“John was also quite a good golfer, and we enjoyed many rounds together. However, John would ‘waggle’ quite a bit at the tee. I would of course hassle him about that, which only encouraged him to do it more. John really knew his business on the lighting side and could speak to designers and technicians very competently. He was a fun guy to talk to and hang out with. Customers loved him. I also loved him and miss him dearly. Fly on my brother.”
Bruce Jordahl, High End Systems / ETC, added, “John was instrumental in the global success of our products early on, and he continued to be a valued member of the automated lighting industry across multiple decades and manufacturers. We truly appreciated his industry wisdom and insight, but moreso his quirkiness and incredibly loveable nature. We will miss him and send our condolences to his loved ones during this difficult time.”
Craig Burross, Chief Sales Officer, Robe Lighting, Inc. concluded, “We all fortunately lived many wonderful memories together with John that will never be forgotten. Rest in Peace J.B.!”
Meyer Sound announces the 2100-LFC low-frequency control element, a powerful new loudspeaker that extends the advanced technology of the PANTHER large-format linear line array loudspeaker down to the lowest limits of audibility.
By pairing a potent Class D amplifier with a single, all-new 21-inch driver with four voice coils, the 2100-LFC produces a linear acoustic output suitable for the most demanding applications. With an extended frequency response from 30 – 125 Hz, this class-leading performance is achieved in a loudspeaker that is more than one foot (30 cm) narrower and about 20 percent lighter than the 1100-LFC product.
“The 2100-LFC shares the core design philosophy behind our breakthrough PANTHER line array,” says Meyer Sound Senior Product Manager Andy Davies. “With the 2100-LFC we’ve had the same goal of making a lighter and slimmer self-powered cabinet with all the performance the industry has asked us for while bringing it to the market at a lower initial cost than the previous generation.
With PANTHER and the 2100-LFC we now have a complete, full-bandwidth solution for high-impact sound reinforcement in large-scale portable and installed applications that meets the practical and budgetary demands of the modern industry.”
New driver, class D amplifier, and four voice coils
Achieving the ambitious performance goals of the 2100-LFC required the development of a new 21-inch cone driver and a new high-power Class D amplifier. For the driver, the Meyer Sound engineering team built on the experience gained from the dual voice coil 18-inch driver in the 900-LFC, but here stepping up to four voice coils. The new driver benefits from an all-new Class D amplifier rated at 1200 watts maximum continuous power, with peak power of 8000 watts.
Un rendu du nouveau 21 pouces à 4 bobines mobiles.
“Like all sub-bass loudspeakers producing very high levels over hours of use, the magnets and voice coils can get very warm and that affects the linearity of the output,” notes Davies.
“But since we have AC power on board, we are able to engineer cooling systems not just for the amplifier but also for the magnet and voice coil assembly. So, the output of the 2100-LFC maintains a linear response no matter how hard you drive it.”
The frequency and phase response of the 2100-LFC is tailored to complement not only PANTHER but the entirety of Meyer Sound’s linear line array products. This makes the 2100-LFC a great fit for customers who already own 900-LFC or 750‑LFC products and want to expand their inventory.
Reduced weight and size
Reducing the weight and size of the cabinet ensures flexibility, giving greater freedom to fly arrays using fewer or smaller motors. When coupled with the weight savings already achieved by PANTHER, this means productions are faster to rig and easier to fly in a wider range of venues. This flexibility also allows users to bring the highest levels of low-end performance to even the smallest venues, and do so with a product that could be touring into stadiums the next day.
Le tout nouvel amplificateur de classe D d’une puissance de 1200 watts en continu et 8000 en crête, mais surtout, léger !
Like the 1100-LFC, the 2100-LFC has symmetrical rigging hardware, allowing easy mixing of front and rear orientation in cardioid arrays. However, the narrower cabinet profile of the 2100-LFC allows for a much more efficient truck pack, with three-high stacks fitting three across in USA or European semi-trailers.
“The stacks are a bit higher than other models in the LFC family, but that’s usually wasted space up at the top,” observes Davies. “Overall, it’s a far more efficient use of truck space, and when you add the savings in space PANTHER has already contributed, we are dramatically reducing the cost of touring logistics.” Preliminary specifications for the 2100-LFC low-frequency control element give measurements of 42 inches (107 cm) wide, 24 inches (61 cm) high and 26.5 inches (67 cm) deep. The enclosure is premium multi-ply birch with a textured finish. The grill is powder-coated stamped steel.
Seamless system monitoring and connectivity
Le module à double entrée comprenant Milan AVB et les bons vieux ports analogiques assurant la compatibilité et la redondance.
The 2100-LFC also incorporates the same standard dual input module as PANTHER, offering both a Milan AVB endpoint for digital audio and monitoring telemetry, plus an analog input for backward compatibility with existing systems. System monitoring and connectivity is handled by Meyer Sound’s acclaimed Nebra software package.
The 2100-LFC will also benefit from the product integration functionality in the Galileo GALAXY series of processors, ensuring seamless audio integration with all generations of Meyer Sound self-powered systems. All connections on the module — network, AC power, and analog XLR input — are via Neutrik TOP (True Outdoor Protection) connectors with an IP55 rating, making weather protection a standard feature.
Un array cardioïde et vertical de 2100-LFC. Les accessoires comprennent des bumpers pour porter jusqu’à 16 enceintes.
“A sub-bass unit with a single 21-inch driver is something we’ve wanted to offer for a number of years because of the size and weight advantages as well as the sonic benefits,” says Davies. “Finally, technology and engineering have caught up with our ambitions.
We set a high bar with the 1100-LFC, which set a new standard for power paired with accuracy and musicality. We expect the 2100-LFC will deliver a level of open, transparent, and linear low-frequency power that will again raise the bar for the industry and redefine what is possible.”
The Meyer Sound team responsible for the design, specification, and testing of the 2100-LFC was led by Engineering Director, Acoustical & Mechanical, Katharine Murphy Khulusi.
Katharine Murphy Khulusi
“We are excited to continue to push the boundaries of performance. The 2100-LFC will be in the same performance class as the 1100‑LFC in a lighter, more compact package. The extended frequency response gives 35 percent extra usable range. This launch continues to take our new products into the future.”
Orders for the 2100-LFC low-frequency control element are being accepted immediately, with the first shipments anticipated in Q2 of this year.
The 2100-LFC will be introduced at Integrated Systems Europe (ISE) 2023 (Hall 5, 5F100), which takes place in Barcelona, Spain from January 31 to February 3, 2023.
Parc de la Villette is both a park – the third largest in Paris – and a focal point for art, music, and culture, housing the city’s largest concentration of cultural venues, including the Philharmonie de Paris and Cité de la Musique. It’s also home to the physically and psychologically imposing Grand Halle de la Villette.
The Grande Halle de la Villette.
A stunning example of 19th century cast iron and glass architecture, designed famous French architect Victor Baltard, the venue was originally an abattoir and was transformed into a multi-use space in 1985. The Grand Halle hosts diverse events including exhibitions, concerts, theatre shows and festivals. The annual Jazz à La Villette festival, hosted here, attracts more than 30,000 jazz enthusiasts every September.
The complete system hanged and ready to roll. 12 K3 ach side flanking a centre hang of six K3. Beneath the L-R two Kara II act as downfills. 4 additional Kara II laying on the stage act as lip fills. Finally four KS28 subs per side are deployed in cardioid configuration.
The Grande Halle, which includes the 5,000 capacity Grand Halle, the Salle Charlie Parker and the Nave, was one of the first venues in the world to benefit from V-DOSC, L-Acoustics first full frequency line source array. Installed there in the mid-90s, the system offered more than 25 years of faithful service. When the venue’s team decided it was time for an upgrade, they chose to invest in the powerful yet compact K3. Supplied and installed by B Live, a mobile K3 system was chosen to deliver the versatility required by the Grand Halle’s diverse programme of events.
Pay attention to the very precise setting of the horizontal directivities with Panflex. The four upper speakers are set at 70°. The four below are set to 90° asymmetrically and the last ones are wide open at 110°.
The Grand Halle’s 18,000m2 space is modulable, to accommodate a wide variety of events, from a cocktail party for 8,000 to a formal seated event for 4,000 visitors. K3 is the ideal solution, complementing the venue’s existing inventory of Kara II, X Series and SB28 subs, it also has the potential to be reconfigured according to the needs of the production, or deployed in other venues as needed. For most of the year, the system is set up in a left, centre right configuration, with nine K3 per side flanking a centre hang of six K3.
KS28 are deployed in cardioid configuration and surround is provided by four X12 per side. Following the installation, the team at the Grande Halle received a full week of training from L-Acoustics Application Engineer, Arnaud Delorme.
Left to right – Valérien Langlais, Olivier Olry and Daniel Matthews.
For this year’s Jazz à La Villette, Technical Director Daniel Matthews designed a configuration using the new system, working closely with Head of Audiovisual Department, Olivier Olry, and freelance System Engineer Valérien Langlais.
The design comprised left / right main arrays of 12 K3 per side to limit reverberation, optimise coverage and deliver an even SPL across the entire audience area. Two Kara II per side are hung below the K3 for down-fill with a centre hang of six Kara II to help provide vocal clarity. AutoFIR array-processing was applied in groups of two K3. Four KS28 subs were flown in cardioid configuration.
A further two Kara II provide delay to ensure top level audio precision for the last rows of the audience close to the roof. X8 are positioned on the stage lip for front-fill. The system is controlled by LA12X amplified controllers on a redundant Milan AVB network and AES fallback. Processing is managed by a P1 Processor.
“The quick and easy rigging system for K3 and KS28 is a big advantage for us,” says Olry. “It took no time to hang the system, and we quickly got used to using the Delta 1.5T accessory to remotely adjust the azimuth angle of the K3 lines from two rear motor points. It’s a life changer as everything can be set, adjusted, and fixed at ground level.”
On the stage lip, Kara II provides a wide coverage to the first rows of audience.
“We’ve had great feedback from visiting engineers,” adds Matthews. “K3 is a true full range system which responds very well from 40Hz with great coherence across the spectrum, and it sounds great straight out of the box.”
Olry echoes Matthews’s thoughts, adding that K3 contour capacity is vital and has a deep frequency response that extension is needed only for ultra-low-end. “In contrast to a modular 8″ or 10″ system, the K3 rigging systems means we can also hang the KS28, and coverage is consistent across the entire audience area. It’s definitely a win-win for everybody!”
Langlais concurs, noting K3 also offers the best solution for the seated audience configuration in the Grande Halle’s 3,000 m2 Salle Charlie Parker. Langlais explains that here, the visual impact of the system was mitigated by placing the KS28 behind the K3, an advantage for theatre or dance productions.
“The versatility of K3 is a huge advantage for us, there are almost no limits on how we can deploy it,” concludes Matthews. “It has great low end in a compact format, and the horizontal adjustment with Panflex is very efficient.
From the initial design in Soundvision with its Autosplay and AutoFIR functions, to the set-up with Network Manager and the M1 measurement platform, everything is designed to maximise efficiency, and you can get straight into optimising the system. And with K3, you quickly know how to make sure everything is optimised in terms of SPL distribution and frequency coherence for the entire audience.”
Staged for the first time at the Cagliari Lyric Theatre in Sardinia, Arthur Laurents’ two-act stage musical West Side Story, with music by Leonard Bernstein and loosely based on William Shakespeare’s tragedy Romeo and Juliet, was a guaranteed success.
The staging offered by the Cagliari Lyric Theater was derived from three major U.S. musical institutions: the Lyric Opera of Chicago, the Houston Grand Opera and the Glimmerglass Festival in New York State. The performance, which blends the language of traditional opera with that of the musical, took place from 15th – 23rd December, bringing to a close the 2022 opera season with 10 highly anticipated English-language performances.
Lighting designer A.J. Guban, nominated for eight Helen Hayes awards, opted for twelve Ayrton Bora TC and twenty-five Ayrton NandoBeam S6 fixtures for the lighting design taken from Mark McCullough’s original. “We chose Ayrton for the unique characteristics of Bora which include a convex plane lens with shutters and very high quality of light,” says Andrea Ledda, chief electrician of Cagliari Lyric Theatre’s stage lighting department.
“The NandoBeam S6 fixtures were used to provide more light sources and even more overlapping of the beams of light, while the Bora units were rigged on the front trusses from where it was possible, due to their wide zoom, to cover the entire stage (with a proscenium width of almost 15m) using just a limited number of fixtures. “Using other profile units with the addition of a hard frost would not have achieved the same quality of light and light output compared to the Bora TC.”
Cagliari Lyric Theatre’s latest purchase of eight Ayrton Bora brings its total investment in Bora to sixteen, with other units from the Ayrton universe in its inventory including 28 NandoBeam S6 and 10 MagicBlade. “The Bora TCs, which we use mainly for work in-house, have proven to be very good and reliable, which is why we use them in almost every production, and with any lighting designer,” says Ledda. “The NandoBeam S6 and MagicBlades, on the other hand, due to their light weight and quick assembly, are also used for events and tours when the Lyric Theatre Cagliari moves outside its main venue.”
For more information on Ayrton Bora, NandoBeam S6 and the full range of Ayrton LED lighting fixtures, visit www.ayrton.eu
Ayrton is distributed exclusively in Italy by Molpass. For information on Molpass visit www.molpass.it
Sennheiser will be present at ISE 2023 in Barcelona, Hall 3, booth 3C600 to showcase its market-leading products for touchless audio and digital wireless technology, as well as its traditional solutions, on display and in real-world demo rooms.
The TeamConnect Family Grows
This year we’ll be launching two new audio solutions at the show, including the newest member of our TeamConnect conferencing family. The newest family member will be on full display at ISE and featured in one of our live demo rooms, so that ISE attendees can experience the newest conferencing innovation from Sennheiser firsthand.
Le TCC2 en livrée noire et blanche.
Our other demo room will feature the TeamConnect Ceiling 2 (TCC2), which remained available to customers within reasonable shipping timelines throughout 2022; a status that continues to present date.
The TCC2, with its patented automatic dynamic beamforming technology, continues to be the leader in conference room audio technology.
With TruVoicelift and advanced zone control, TCC2 combines the advantages of a boundary microphone and a microphone array. Therefore, it is the best solution for both (video) conferencing and in-room audio, for example in classrooms, lecture halls and boardrooms. Come and experience the interlocutor reliability and clear sound for yourself by visiting our demo rooms. You’ll also have the opportunity to speak to our product specialists onsite to hear how our solutions will work for you.
Assistive Listening and Beyond
MobileConnect delivers true inclusion for modern assistive listening using your own smartphone. At ISE this year, we are delighted to be launching an exciting new feature for MobileConnect that takes it beyond just assistive listening.
Mobile Connect. Une toute petite boîte pour une somme de possibilités.
Everyone deserves to have the tools for success and a variety of organizations like universities, large corporate meeting rooms or conference venues have MobileConnect in their toolkit. It allows you to fade out all unwanted distractions in noisy, crowded environments, simply put on your headphones and listen to the moderator.
It also includes hassle-free interpretation and multiple streaming channels for live translations -making it a truly inclusive solution for all situations. Come by our stand and be one of the first people to experience a whole new application for MobileConnect!
Premium Audio for Speech & Lectures
Our presentation solutions fit all demands and room scenarios. They offer a high degree of flexibility and ease-of-use. After all, you must be able to focus on the essential: your message.
L’émetteur main SKM, un brique du système sans fin numérique de dernière génération EW-DX.
Since our solutions are optimized for speech applications, they guarantee superior speech intelligibility and reliability even when in constant use. Our extensive portfolio of microphone solutions offers flexibility, scalability, and reliability for any size room. Visit our booth and discover audio solutions that are perfect for presentations; from Speechline Digital Wireless and Digital 6000 to our recently released EW-DX.
Strong Partnerships = Freedom of Choice
Through our network of global partnerships, we offer you the freedom and flexibility to design your own ecosystem without restrictions. Our audibly better and innovative solutions can not only be found at our ISE stand, but as part of some of our partners as well. The booths of Bose, Cannon, Creston, Kramer, Q-SYS and Xilica will all feature our solutions as part of their displays and demos.
Excited to See You!
We can think of now better way to kick off the new year than to spend time with all of you at ISE. Whether you’re a partner, end customer, integrator, journalist, peer company or just someone interested in the latest and greatest in audio technology, we look forward to seeing you at our stand (booth 3C600) in Hall 3 of the Fira Barcelona.
Sixty82 presents an all-new TPM29S, a new 29cm box truss that is up to 25% stronger, yet fully compatible with, the M29 series box truss. By introducing TPM29S, the first in SIXTY82’s new TPM Truss Series, Sixty82 has re-invented the industry’s most popular truss type, the M29S box truss, to deliver a new product with a wealth of added benefits to the end user.
TPM29S is up to 25% stronger than similar box trusses enabling it to withstand the most demanding conditions. An improved design of the diagonal braces helps to increase the strength and stability of the truss system, while the new optimised shape and dimensions provide better support to withstand higher forces.
Extruded end frames enable TPM truss to withstand more load without deforming. The extrusion process ensures a precise and uniform shape that is 100% square with a perfect fit, reducing the risk of failure due to poor connections. The extruded end frame also makes TPM29S bounce- and smash-proof. The removal of the end diagonal support in the new design makes for easy storage and allows easy placement of uplighters within the truss without interfering with the light output. A new truss spigot made of stronger alloy adds a further key improvement to the strength of the TPM Series. A major feature of the TPM29S is that it is fully compatible/interchangeable with the current M29 Series and can be seamlessly integrated into any M29 Series setup. In cases where both truss types are used, customers can simply use the loading tables of the M29 truss for safe and reliable operation.
Sixty82 is proud to state that the whole process of design of the TPM Series jigs, robot track and integration of the system was entirely carried out in-house by the Sixty82 team.
“We have taken the holistic approach to improving our whole production process, not only implementing advanced robotics technology, but also adapting the design of the truss to fit the robotising production process as perfectly as possible,” says Sixty82’s Fokko Smeding. “This unique approach has allowed us to achieve maximum output with the shortest lead times of a top-quality product.”
TPM Series truss is the perfect solution for anyone looking to expand their M29 series and take advantage of the latest innovations in truss technology. TPM29S is the first in the series to be released. Contact SIXTY82 to find out more.
TPM29S main features:
– Up to 25% stronger – Bounce- and smash-proof – 100% interchangeable with M29 series – Perfect fit – 100% square – Storage or built in applications – Easy placement of fixture in truss – Very low lead times – Constant high quality – Made in Holland – Patented
When you imagine an eclectic dining experience in Hollywood, you might not always imagine seeing a performance by a world-class DJs, or from touring performers from around the world—in the same evening, in the same seat. That is the experience at MainRo, one of the latest “clubstraurants” trending in the area, a creation by owner Romain Zago, known in the Miami club scene for Mynt Lounge in South Beach, Florida.
Zago has brought into fruition the successful merging of savory meals and glamour décor, then transitioning into a nightclub, with stunning lighting effects and professional sound. Redefining the concept of “dinner and a show.”
When Zago began construction at MainRo, he brought in Miami-based system integrator Pawel Roguszczak (clubTech, LLC) to design and install the new audio system. The venue will host many types of performances to include touring DJ’s, vocalists, and live bands— one step beyond the Mynt Lounge approach. Zago gives Roguszczak complete control over the decision and budget for the install.
“RCF has always been on the top of my list, there were so many reasons why RCF would work in this particular venue,” said Roguszczak, owner and installer at clubTech. “We were looking for something ultra-compact that would give us tour-quality sound on a permanent scale.” ClubTech got its start in 2007, specializing in nightclub venue build outs, that included two Mynt nightclub locations built by Zago. “We have experience with RCF’s sister company, dB [Technologies] equipment, installed in both Mynt locations. We’ve worked with RCF in permanent installs with smaller products in the past. RCF quality and price point is amazing, it made perfect sense,” Roguszczak continues.
One of the arrays being lifted. One HDL 15-AS and four HDL 10-A.
The room dimension at MainRo is a standard 100’ by 40’ rectangle, with a stage on one end, full dining in the early evening, which then converts to nightclub with table service.
“The MainRo system is a bit of a hybrid system, the main arrays are HDL 10-A  with HDL 15-AS  subwoofers for the main arrays, on the floor we installed passive subwoofers from the RCF S-Series, Two double 18” and two single 18’ subwoofers.”
As with many system integrators, when asked about some of the challenges during the project, there is one above them all, “COVID”, Roguszczak replied. “The project started in early 2020 before the pandemic started, I did some technical drawings and I spec’d everything with RCF in mind.
Of course in the venue it wears his protective front grill but this is what’s hidden behind it.
At that time, it was also a time when we could actually buy equipment. It became true enough at that time there would be a shut down, and it became real, so we made the decision to purchase the system in March and put the equipment in storage. We were lucky to book the purchase at that time because LA was very restricted.
During my first trip to LA, Hollywood Boulevard was surreal, like a ghost town. The challenge was whether we would be able to fly, book a hotel, find general contractors, so we had more logistical challenges, more than the installation itself,” describes Roguszczak. “With RCF, the installation was the easiest part, honestly.”
In the Mac Aura range, which has been a worldwide success since 2008, Martin renews the concept with the Mac Aura XIP!
It is a revisited version of the Mac Aura XB (which remains a standard in the Martin catalog), with new features, especially in terms of the Aura effect, but above all, weather protection that allows it to be used outdoors without special precautions (IP54).
A small crafty, and very nice machine that we tested in the studio of “La BS”. At first glance, we can see that this Mac Aura is part of the Martin family, thanks to its familiar silhouette. A Mac Aura a bit stockier with a bigger base unit.
A mix of effects and beams.
The weight and measurements…
The XIP is about 40 cm (approx. 16 inches) high and 30 cm (approx. 12 inches) wide. Its weight is less than 9 kg (approx.20 lbs.). Even if it is a bit more imposing than its little brother XB, it is still in the category of small fixtures that will be able to be installed in all the most extravagant situations…
The underside of the base unit has an M12 bolt in the center and quarter-turn placements for the omega clamps.
It also retains the possibility of hanging by a central hook via an M12 bolt, BUT fortunately (and those who have fought for years with wrenches to tighten the hooks on Mac Aura with bolts will be delighted), it also adopts the double omega system with Camlock quarter-turn locking.
Physically, the base has two handles to lift the machine, and on one of its faces, the display and the connectors. The connectors are all equipped with waterproof rubber covers, which is sometimes a little difficult to handle but which will on the other hand ensure the waterproofing of the connections.
The menu and the different buttons for navigating within the menu.
There is a True 1 input/output for the mains supply, 5-pin DMX input, and output, two RJ45 ports for networking, and a USB-C to update the software. To enter and explore the menu and configure the machine, it is simple and efficient: white menu on a blue background, accessible using 4 navigation buttons.
The machine is controlled in DMX-512-RDM, Art-Net, and sACN and automatically detects the Martin P3 protocol. At the rear of the head, there are hatches that act as handles and do not have a pan or tilt lock. The output lens, which measures a small 20 cm (approx. 8 inches) in diameter, moves back and forth by motorization to ensure the zoom function.
Front view of the lens. We can distinguish the filaments of the Aura effect.
There are two light sources (three including the menu display, but that doesn’t count). For the main one, it is 7 RGBW 60W LEDs each associated with a collimator via a light guide that ensures the mixing of colors.
Between the sources and the lens system, there is the second luminous system: “the Aura”. It is a network of 12 plastic fiber coils that recall by their design the “filament” of some incandescent lamps. They are each animated by RGBW LEDs of 4 W
While the Mac Aura XIP is not immersible, it has been designed to be able to be used outdoors in all weather conditions, but also to stay outside for a while without fear for its reliability and technical integrity. Every construction detail has been studied to offer all the guarantees of the absence of problems in case of rain. Very complex moldings have been made to create spaces where water is no problem. And it’s well thought out.
The humidity sensor.
And that’s not all. For example, depending on the information received by different sensors, the machine is equipped with an automatic function that will, at times when it is not “active”, or when the user decides, tilt the head to empty any cavity that has received water … Another great idea is a humidity sensor located on the head that will trigger the automatic “drying” option of the machine at regular intervals by a sequence of heating and ventilation… This sensor, like others, will also allow the machine to analyze its use and provide information if necessary for possible maintenance later (weather exposure time, etc.)
Even the other accessories have been particularly well studied… The flight case of the XIP is ventilated and is equipped with a system of gutters evacuating water, and allowing to store the fixtures still soaked or in the pouring rain. The water will flow naturally and the moisture will be driven out. No more flight cases to open urgently at the warehouse to avoid mold and deterioration…it’s already dealt with! Smart! The goal of the manufacturer was to make a machine capable of spending several months outside, and it seems to be very successful.
What about the light output and effects?
As with the Mac Aura, the XIP offers two systems in one. One concerns the beam of the projector, quite simply, and the other, its famous Aura effect. This one, for the moment, is still quite far from the one we knew until now which consisted of backlighting the output lens. This was a mixed success with lighting designers who especially appreciated the energetic small wash beam of this compact machine offering a quality of color mixing unprecedented at the time. Here the Aura effect is much more user-friendly, and in my opinion much more interesting.
The beam is that of a multisource led wash, that is to say, a rather diffused beam, without having the characteristics of a Fresnel lens machine. It has a tight beam of about 6° and it opens wide. Our measurements at the widest is about 45° at I/10 (intensity in the center divided by 10).
If necessary, Martin provides the Mac Aura XIP with a frost filter that attaches to the front of the fixture with 4 screws, to soften the edge of the beam even more. In short, we are clearly in the case of a wash, as it can usually be presented on a machine of this type, with a nice emphasis on the beam.
The diffusing filter is provided with the XIP to soften the beam edges if needed.
The diffusing filter installed on the fixture.
An important detail, each of the 7 LEDs of the wash can be controlled independently and can therefore be used as a single pixel under the control of an external video stream or pre-programmed effects (macros) that the machine has internally with different animation parameters (speeds, direction of rotation, etc.).
I like the beam. In a tight beam, with or without the frost lens (although it is a little attenuated with it), we distinguish along the first 50 centimeters (approx. 20 inches), the convergence of the beams of the 7 main lenses, characteristic of a multisource wash. This is not a problem and it does not affect the effectiveness of the light beam. The zoom widens this beam of light while increasing the flow.
After drawing the derating curve (attenuation of light as a function of operating time at full power), which does not go beyond 9%, we begin the measurements on our target, 5 meters (approx. 16 ft) from the fixture.
At the tightest, we measure the radius of the beam projection, first at I/2, (intensity at the center divided by 2), in other words, starting from the value in the center. We divide it by two to use the lux meter in the 4 directions where the value obtained on the axes of our target is located. We average the radii to calculate the angle which for the MAC Aura XIP is equal to 6.7°. It is in this area that the projector delivers the maximum output.
We repeat the operation, this time at I/10 according to the same method, and obtain an angle of 9°. At the tightest, the illuminance in the center reaches 14,840 lux in the center at 5 meters after derating and 16,340 lux on startup. The total flux is 4,435 lumens after derating and 4,890 lumens on startup.
Beam of 20°
The fixture is set for an angle of 20° to 1/10, the output in the center becomes 4,760 lux (5,240 cold), and the flux increases to 4,980 lumens (5,490 lm at startup).
At the widest, we measure an angle at I/10 of 46°, the output in the center drops to 790 lux (870 lux cold) and the flux climbs again to 5,380 lumens (5,930 lm startup).
This projector is quiet. When turned on, it does not emit any sound to distinguish its noise level from that of the empty room with the sound level meter. Only the movement of the zoom brings 2 dB of difference with the ambient noise. The performance is the same as for the Mac Aura XB.
Courbe de dimmer en mode Square Low de 0 à 10 %.
Courbe de dimmer en mode Square Low de 0 à 100 %.
The dimmer is perfect. The curve in “Square-Law” mode is particularly smooth. It should be noted that in the functions that can be activated remotely via the control channel, there is a tungsten emulation that will ensure, both at the main beam and at the Aura effect, a dimming and inertia comparable to those of a halogen lamp filament.
The concern of a multisource wash is often the “cleanliness” of the beam. “Spots” of unwanted light especially those associated with a block of lenses, especially if they are white, “shine” enough to generate stray light around the main beam. And, indeed, we can not avoid seeing it. The light emitted is subject to unwanted dispersion (reflection) and will form a kind of halo around the beam.
This is more or less inevitable with this technology. And the addition of the optional diffuser filter will not change that. On the other hand, I must say very honestly that Martin handles this phenomenon quite well, which does not pose a major problem using the XIP in most concert or corporate event situations.
The whites and colors?
The XIP is prepared for all types of use when it comes to the different shades of white. Basic calibration in white is at 6000 K, it also has a channel emulating color temperatures from 1000 K almost red-orange (not measurable by our spectrometer) to the icy bluish white of 16,000 K!
A green/magenta channel will offer the possibility of nuancing the greens and pinks which can thus be adjusted according to the needs of video broadcasting or photographs. The channel in question will go from a slight greenish to a severe rosé. Adjustment is at will… The color rendering index (CRI) is 70 to 80 depending on the white selected. It goes even lower if tungsten is simulated in very warm shades. At 3200 K we measure a CRI of 44. This is good to know…
When it comes to colors, the XIP does very well… The shades are really beautiful and this is in all possible and imaginable colors. Only deep congos are difficult to obtain, as on most LED fixtures…
The CMY colors.
The Aura effect of the XIP…
The Aura effect here is no longer just a simple illumination of the output lens… Although we can always do it (especially in the narrow beam), we benefit from a set of 12 filaments of light, controlled just like the beam (in RGB, CTC, green-Mag strobe/dimmer) and which will offer a very nice and modifiable visual to transform the appearance of the fixture and obtain a real animated decorative effect.
Aura effect using a cold white.
It’s very nice to use for backgrounds in video recordings and allows the use of this fixture for scenic effects that can be very specific but very spectacular. The splitting of the different pieces of filaments can be very soft or can be extremely dynamic. With a certain number of fixtures, we can imagine using this “Aura” effect on its own for a real effect. It is clearly, like other machines, a fixture that will be identifiable by the very assertive design of this very unique effect.
Aura effects using colors.
The size (about twenty centimeters in diameter, as specified before) of this fixture is perfect to avoid the too big and monumental type while offering a visual aspect that is easily obtained. The different control modes of the Mac Aura XIP will give different opportunities to create made-to-measure effects using each filament as a controllable source in RGB. You can also have access to different internal macros to generate numerous nice patterns, and speed settings to animate the heads of your little XIPs. The mix between the main beam and the Aura effect can also give striking results. There is a lot of time to spend with these cute “toys” to find all the interesting combinations possible and get some really cool things out of them.
Note: lthe smallest control mode, called “Compact” ignores the Aura effect. So if you don’t want to use it, you have an excellent little wash with 20 channels, and that’s it.
Removing the bottom of the base unit, there is a molded aluminum base to avoid water dripping inside.
Technically, everything has been studied to be able to withstand splashes of water. Either by drastic caulking or by stopping all water infiltration. Disassembling the Mac Aura XIP requires going through the different compartments. Molded parts with anti-runoff designs are everywhere. The aluminum plate that constitutes the bottom with the omega fasteners is also obviously waterproof.
The entire power and electronics part is caulked to the same extent. To disassemble, you have to unscrew the Torx screws everywhere. On the head, the rear ventilation ensures the cooling of the radiator of the leds, which can run perfectly in the rain. The entire part is simply waterproof …
The rest is quite classic: a circuit receiving the leds, each associated with its light guide that crosses the circuit hosting the coils of the “Aura” to come to the collimators molded in the output lens which forms a single block driven by the zoom mechanism. A circular bellow ensures the waterproofing.
The main led circuit and their guides.
The Aura effects disc. We can distinguish the “filaments”, and the 7 light guides of the main LEDs sticking through the disc.
The mechanical build, the yoke with the Tilt mechanism.
The inside of the yoke is quite classic, with the motorization that occupies a major part, with a side where you can see the tilt belt, which circulates on a pulley installed around the axis.
The Mac Aura XIP has come to make its place in the Martin range, offering a new wash fixture that has serious advantages, starting with an IP54 design that is very convincing. The quality of its manufacturing and the care given to its development, lead to practical and intelligent solutions of operation, completing its entire concept. The Aura effect, more than successful, has a real usefulness, which is a big difference. The XIP will probably soon have the honors of many lighting designers and Directors of Photography, who will find in it the ideal little machine in many cases.
Andre Beekmans and a talented team from his Eindhoven, Netherlands based design studio, The Art of Light, created a stunning lighting scheme for the 2022 Amsterdam Music Festival (AMF) a one-day electronic music extravaganza of epic proportions produced by ALDA and staged at the Johan Cruijff Arena as part of the 2022 Amsterdam Music Event (AME).
Andre chose over 400 Robe moving lights to be a major part of the lighting rig, including 166 x LEDBeam 100s, 192 x Pointes and 76 x MegaPointes, which helped make a significant impact for this glorious first post-pandemic AMF.
Andre has lit the event for the 10 years since it started, and with this year being the first since 2019 everyone’s expectations were even higher than usual, and he worked closely with event technical production manager Maarten Hoogland from ALDA in creating the set and staging elements as well as delivering the lighting design.
A breath-taking line-up of A-list DJs hit the dex between 8 p.m. and 6 a.m. for 10 hours of nonstop pumping dance mayhem including Armin van Buuren, Afrojack, Martin Garrix, Nicky Romero, Timmy Trumpet, Tiësto and more, who thrilled the crowds sonically, while Andre and the team ensured the visuals made it a night to remember!
The big challenge was creating a visuality that fitted the vast stadium space yet also brought the intimacy and special energy of a nightclub.
Taking the multiple crosses of the AMF logo as a visual starting point, eleven giant crosses outlined with LED strip lighting and rigged with additional lights were designed and custom fabricated. Five of these were rigged above the stage – a cluster of three together upstage centre were on a motion control system and flew in and out behind the DJ – which was a visual crowd pleaser! These three AMF crosses were flanked by two single ones left and right of the stage at the back, with the other six deployed around the other three sides of the football field. Each 7.5 metre high AMF cross was rigged with 12 x Robe LEDBeam 100s, chosen for their small size, light weight, power, and punch.
Having these set pieces strategically spaced around the stadium ensured there was always a signature brand ident in every direction that people might look or that any of the live camera feeds could be panning, an effect that was magic for all those revelling Insta and TikTok moments!
From the start, Andre had been conscious that this branding should be visible in all the footage and photos, particularly those taken from the DJ booth perspective shooting out across the crowds!
Instead of having a big slab of LED screen upstage, Maarten and Andre were keen to have something more abstract and interesting, more of a LED feature than a bit of TV, so this set piece was created with strips of LED that could work separately or together as one big canvass when needed. It could also be lit from behind to add depth, and the content created by Veemee Visuals was designed to work more harmoniously with the lighting.
“The idea was very much trying to keep the focus on the music and fun and simultaneously present a really cohesive visual picture,” explained Andre, “basically creating this massive dynamic nightclub space filled with energy and great vibes!”
Robe fixtures like Pointes and MegaPointes are a go-to for Andre in this type of situation – their speed, versatility, array of effects and intensity make them ideal for lighting dance music events, as well as reliability as dance shows are a gruelling work out for any moving light! In this case, six Pointes were rigged on 32 x motion-controlled trusses above the audience across the stadium. The movement brought an additional aesthetic layer to the picture and generated multiple spectacular looks throughout the night, sometimes swooping in dramatically low above the audience.
“To ramp up the club effect, the design really needed lights coming in from all angles and directions,” Andre noted, adding that it was a massive space to fill so they needed lots of bright fixtures, and the moving trusses were designed with Pointes as the optimum lightsources, combined with 76 x Robe MegaPointes across the stage area. “These two fixtures are a brilliant mix,” he stated.
The Pointes and MegaPointes were right at the essence of the design, the MegaPointes were mainly rigged behind and in between the LED video banners for blast-through and other beam-tastic looks – at which they excelled! Andre’s design featured approximately 650 other lightsources including LED strips, floods, and other moving lights, all controlled via four grandMA3 full size consoles (two live and two backup) operated by a team from the Art of Light. Joining him on the operating shifts were programmer Kasper Iseger; Jaap Kamps who took care of all the LED strips and other ‘scenic’ lighting, and WYG / previz tech, Kasper Dijksterhuis.
On site they had only one intense evening of programming, and not from the optimum position of being on the football field … as the grass is only covered at the last moment before doors. Then there are all the guest LDs, which is why they made the WYG suite available.
Many artists did bring in their own LDs or lighting operators, including Michael Seeverens, Armin van Buuren’s long time lighting director, an artist also closely connected to The Art of Light. Andre himself operated for the first and last two acts of the night / morning.
“We knew everyone coming to FOH and there’s always a highly social atmosphere and plenty of positive camaraderie on events like this as well as each person being on the quest to give each artist a special show!” he commented. One of the biggest overall design challenges was to ensure that the global set up had enough latitude to cater for the different styles and genres of music but with 10 ADE’s under his belt, Andre has amassed broad experience in ensuring fans leave with lasting impressions of a great night out!
The ADF show was a massive success as was the whole 2022 Amsterdam Dance Event which looks forward to being back in 2023 bringing a whole new raft of perspectives in celebrating the vibrance and diversity of dance music from around the globe.
Lighting equipment for ADF 2022 was supplied by Ampco Flashlight.
Founded in 1993 by musicians and sound engineers, Fohhn has become one of the leading manufacturers for professional loudspeaker systems. Today, mobile and installed Fohhn systems can be found in almost every country in the world.
These products are still developed and manufactured in Nürtingen, Germany. Celebrating the company’s 30th anniversary, Fohhn gets a new logo and a new brand color.
Left to right: Uli Haug, Director Marketing/Sales, Nico Schwarz, Marketing manager and Jochen Schwarz, CEO.
Over time, the Fohhn logo has changed slightly for a few times. The new iteration is certainly the biggest: a clear simplification. The wide “F” is being kept – its now angular shape stands for technology, rationality and precision. Some pianists may also recognise the contour of a grand piano. The circle symbolises emotion, art and sound. It reminds of a loudspeaker membrane.
The previous corporate color orange is replaced by a more muted sky blue. The softer, light color represents openness and also the discreet way in which Fohhn systems can be visually integrated. With the claim “Colors of Sound”, there will also be multicolored elements that underline the diversity and flexibility of the portfolio, Fohhn Customizing and the brand.
The Fohhn SoundLab.
With its new image, Fohhn is looking ahead to an eventful future – with both anticipation and confidence. The foundation for this has been laid. Milestones have been the in-house development of amplifier series, the expansion of the widest beam steering range on the market and the construction of the new company building, including the Fohhn SoundLab.
Future innovations are already underway with new conferencing solutions, PoE speakers and new beam steering systems. The commitment to sustainability is also a key part of the future orientation. Fohhn takes the awards for this field as an encouragement to do even better in the future. More information about new products and sustainability will be shown at the ISE in Barcelona in February.
UK rockers alt-J were back on the road again in 2022 having released their fourth studio album “The Dream” earlier in the year, and their enigmatic live performance style could be enjoyed with a new lighting design by Davy Sherwin.
A striking scenic element of the design was created using 60 x Astera NYX bulbs hung on a series of asymmetric drops from the overhead trusses and attached to specially modified mic stands deployed on the floor. All of this created a cool organic looking ‘forest’ of NYX Bulbs which were supplied together with the other lighting kit for the UK and European dates by Hampshire-based rental specialist, Liteup.
Davy wanted to bring a fresh look to the stage and something that was simultaneously intimate, quirky and interesting, and the NYX Bulb drops were one of the first visual pictures that came to mind when he started imagining the design.
He knew they would work for big scenic looks as well as being able to help close the space down for some of the more intense numbers. He had become familiar with the various Astera products during the pandemic when live events halted, and he was able to transfer his lighting skills and sensibilities to working as a console operator / programmer on several films and television series.
“I needed a versatile, lightweight and cost-effective solution for creating big bespoke looks and it immediately just screamed ‘NYX Bulb’ at me,” he explained. Liteup already had the fixtures in stock as they have a good range of different Astera products.
To create this specific NYX Bulb environment, most of the fixtures are hung on random length catenary wires from all three trusses – front, mid and rear – so they covered the whole area. To add depth and three-dimensionality, Davy deployed approximately a third of the NYX Blubs on the floor stands and around the band for a fully immersive experience. The stands and the wires disappear into the darkness when the band are onstage and in full flow, so the Bulbs look like they are floating in the air!
It is Davy’s first stage lighting design using these products! On the TV and movie sets he had discovered just how adaptable and dynamic they were to use as practicals and other basic lights, but ever since then he had been waiting for an opportunity to incorporate them more imaginatively into a stage or music show context.
He sees the wireless connectivity as a big advantage although they were used wired on the alt-J tour, and he loves the colours, noting that they are “proper and beautifully mixed,” unlike so many other LED bulbs!
He has discovered numerous NYX Bulb effects in the process of programming this show – colour effects, dimmer effects, twinkling, chasing, sequences and big blocks of colour – and with 60 over the stage area, he was able to use clusters of them to highlight solos or to accent inflections and incidentals in the music – sometimes extremely subtle but with maximum impact like ‘popping’ above the heads of band members during a solo.
“They are simply fantastic for strobing and adding those little kinetic flourishes to certain musical parts,” he noted. “They are an ingenious and well thought through product that is seriously so much more than a colour changing lightbulb!”
Even Davy was surprised with how inspired he became and the sheer number of different ways he found to use NYX Bulbs in the alt-J show! Fitting them into regular ES lampholder strings which are light and easy to attach to the trusses made the daily rigging detail quick and efficient.
Lighting for the tour was operated for the tour by Dave Singleton using a grandMA2 Light with Liteup’s Marc Callaghan also on the crew as lighting tec. Marc commented “NYX Bulbs – and all the other Astera kit – has proved a great value investment for us, and designers like Davy are continually finding new and inventive ways of using the products!”