Epic Games’ Innovation supported by Brompton Technology

Based in London’s Fitzrovia, Epic Games’ London Innovation Lab is a hub for the creative community, offering creators across industries a platform to produce real-time content and immersive virtual experiences, using Epic’s Unreal Engine (UE) software.
The new curved LED Volume, recently installed at the Lab and running on Brompton Technology processing, is a testament to the company’s continuous commitment to empower new ways of content creation using the latest technology advances.

©David Levy ARRI

Whilst UE has been at the forefront of Virtual Production (VP) since the first workflows began to emerge, it is the first time that the company has introduced its state-of-the-art virtual studio, working with partners such as Brompton Technology, ARRI and creative technical production company 80six, to bring the magic of virtual production to life.

“Our initial conversations with Brompton took place at this year’s ISE, where we met with several other vendors to discuss our needs to create a virtual production studio at our Innovation Lab in London,” says Epic’s Technical Artist, Ben Kidd. “Brompton’s Tessera processing ticked all our boxes, so we were very keen to go ahead and test the full LED solution in situ.”
The arrangement was made between teams at 80six, Brompton and Epic to have demo ROE LED screens and Brompton Tessera S8 LED processors delivered to the Lab facility. However, due to the lockdown the project had to be postponed until late April. Following eased restrictions, the equipment was finally shipped to Epic and further tested by Kidd and his team on site for over a month.

“Following the initial testing phase, we were very pleased with the ROE and Brompton combo and its performance, and so it was an easy choice to make the full investment,” continued Kidd. “We acquired three of Brompton’s latest Tessera S8 LED processors to drive the entire Volume.”

The complete LED fleet – including 144 ROE Black Pearl 2 LED panels, 38 CB3 Carbon 3 full-size and eight half-size panels – has been calibrated with Brompton’s Hydra advanced measurement system to take full advantage of Dynamic Calibration features and Brompton HDR (High Dynamic Range).
The space is a mix of lighting emitted by LED panels and also traditional lighting fixtures that one would normally find on a professional film set, with all of the traditional fixtures provided by ARRI. Additionally, the company offered its high-end AMIRA camera system with various lens packages for the studio.

“At ARRI it’s been clear to us for some time that Virtual Production with LED will be a key part of many of the projects we see and work on going forward and the interplay between cameras, video and lighting is crucial to the success of these projects,” says ARRI’s Regional Business Development Director, David Levy.
“We have seen our cameras work brilliantly with Brompton processors in the most demanding environments and this project has been no exception. It’s been a pleasure to work on the London Lab with Epic, Brompton and 80Six to deliver a facility which can be a proving ground for more ground-breaking developments in this field and we are excited to see the content it will produce.”

Whilst the design service has been managed by the team of ARRI’s System Group, the technical service for Epic’s Lab has been provided by the team at 80six.
“We were very pleased to have been asked to deliver this permanent installation for Epic alongside ARRI,” comments Ben Annibal, Project Manager at 80six. “It’s always extremely satisfying to install equipment from our long-standing partners at Brompton and ROE.”
“Ben (Kidd) has made an excellent choice investing in both brands, not only for the build quality and performance of their products, but also for the level of technical support that both companies provide their clients,” adds 80six’s Director, Jack James.

With all the technical elements coming together to create a beautiful high-spec curved LED screen, the driving power, the Tessera S8, has been chosen by Kidd for several reasons.
“The main reason we chose to use the new Tessera S8 was because we wanted to send a smaller number of pixels out of the GPU. Rather than using all of the GPU’s overhead to deliver a 4K signal it now outputs only half of that, with the remaining 50 percent of the GPU’s capacity used to significantly enhance image quality,” explains Kidd.
“We have more grunt inside of the GPU and can still take full advantage of a wide range of the S8’s features, including its full support of Brompton HDR to provide stunning realistic imagery, which was another key consideration for the team.”

With all final testing sessions completed, Kidd and the rest of the team at Epic cannot wait to put the LED Volume to its full use by opening it up to their Unreal Engine community of creators.
“What we stand for here at Epic is empowering people to create content,” concludes Kidd. “Our new facility is another way of breaking down the barriers in content production and allowing great things to happen. Thanks to our close-knit community of virtual production partners like Brompton Technology, we have been able to create a platform that delivers a new level of immersive visual experience.
The Innovation Lab with its LED Volume, expert processing and our Unreal Engine software can support all the latest technology advances in virtual production, and we’re excited to see how it continues to transform the art and craft of filmmaking.”

For more info about Brompton range of products, check the Brompton Technology website

Defqon.1 2020 at Home with CLF Lighting

Transformed into an online experience, the 2020 edition of Defqon.1 was still one to notice. Three days of madness with more than 80 artists and featuring every key element of Defqon.1 resulted in one of the most spectacular live streams so far.



Together with the Q-Dance team, LD Robbert Jan Vernooij was in charge of lighting. The design features a significant amount of CLF fixtures. The deviant, 360-degree perspective asked for a full waterproof lighting package. Since the design was based on a flat surface of 160x200m, rain covers and domes were not desired.

CLF Lighting Ledbar Pro

Centrally located on this surface is the well-known Defqon.1 sign, fitted with 96 CLF LEDbar PRO fixtures.
Q-Dance’s Jonas Schmidt, Dennis van Harten en Tamil van Draanen were responsible for set design.


CLF Lighting Poseidon

In order to create spectacular aerial and geometric effects, LD Robbert-Jan Vernooij chose the brand-new IP65 rated CLF Poseidon outdoor beam.

“We are used to working with the CLF Aorun beam. The Poseidon certainly lives up to his indoor brother.
We were really surprised about the movement speed and the fact that the double prism can be used to create a wide spot-like effect.”

CLF Ares and CLF Yara fixtures were used as floodlights to illuminate decoration and large surfaces.
“A wide area needed to be covered, so we included a large amount of these fixtures. Both fixtures feature high intensity and beautiful saturated colors, which is exactly what we were looking for”, concludes Vernooij.

Just like every other Defqon.1 event, the 2020 online edition ended with a bang. A three-minute time coded closing-show with fireworks concluded a three day online experience full of highlights.

CLF Lighting Yara

CLF Lighting Ares


CLF fixtures that were used:

– 48x CLF Poseidon
– 136x CLF Ares
– 112x CLF Yara
– 96x CLF LEDbar PRO
– 48x CLF Quadcolor
– 38x CLF Ares XS
– 8x CLF Turbine

Credits:

– Client: Q-Dance
– Set design: Jonas Schmidt, Dennis van Harten & Tamiel van Draanen
– LD: Robbert-Jan Vernooij
– Supplier: Rent-All
– Technical drawings: Marcel Binnenmarsch
– Dependence2 drawings: Niels Kieboom
– Load in/load out/show crew: Peter Visser, Mark Loeffen, Freek van Mil & Rob Germans


More information on the CLF Lighting website

Cameo Flat Pro series illuminates the riverbanks in Murcia, Spain

Rivers often act as the lifelines of a city both biogeographically and socially. Life emanates from here, and people meet along rivers in a variety of ways. Until the end of 2020, residents of the Spanish city of Murcia will be able to experience their Rio Segura river in a very special light.

Since March, the promenades have been showcased on both sides by a lighting installation covering several kilometres.
The responsible lighting designer José Luis Martinez Brocal used 161 Cameo FLAT PRO® 7 IP65 RGBWA outdoor PAR spotlights for this purpose.

The lighting installation lasting a lot of time at the Rio Segura is a joint concept between José Luis Martinez Brocal (Sonido 1) and Francisco Sandoval, Technical Director for the City Council. Together, the two lighting enthusiasts were looking for an opportunity to make the river bank even more vibrant, while simultaneously promoting sports and cultural activities.


From the very beginning of their collaboration, the team provided multi-colored lighting for various festivals and holidays, including the Spanish national holiday in mid-October.

“It was not easy to find a spotlight that met all our requirements for powerful light, high-quality colors, low power consumption, and comprehensive outdoor suitability,” explains José Luis Martinez Brocal.

“The FLAT PRO 7 has a beautifully focused beam to light the six meter-high columns along the promenade from the ground.“
As an additional highlight, the people responsible illuminated the futuristic Santiago-Calatrava bridge with 18 FLAT PRO 12 IP65 units.

A team from the Spanish construction company Ferrovial was responsible for the installation of around 180 Cameo spotlights on site.
As IP65-certified spotlights, the two RGBWA FLAT PRO 7 and FLAP PRO 12 spotlights make it possible to design creative lighting effects outdoors.

With light intensities of 10,000 (FLAT PRO 7) or 15,000 lux (FLAT PRO 12) and a beam angle of 30°, the extremely flat spotlights are particularly suitable for applications in confined spaces. For outdoor applications, IP65 models are fully protected against dust and spraying water.

The following products are used:

– 161x Cameo FLAT PRO 7 IP65 outdoor PAR spotlights
– 18x Cameo FLAT PRO 12 IP65 outdoor PAR spotlights

Cameo Flat Pro 7

Cameo Flat Pro 12

More d’information on:

– The Sonido 1 website
– The Ferrovial website
– The Cameo website

– The Adam Hall website
– The blog Adam Hall
– The Event Tech website

 

Rivage PM V4.7 update brings Bricasti Y7 Reverb

Through regular software updates to its RIVAGE PM digital mixing systems, Yamaha is able to bring sound engineers the very best quality and most user-friendly features.
The latest of these, to be released with Firmware V4.7 in mid-December, is the premium Y7 reverb, developed in close collaboration with Bricasti Design.

Bricasti Design is known for being the world’s premier manufacturer of hand crafted, hardware digital reverbs.
The delicate expressiveness, exceptional sound quality and ease of use of Bricasti Design is characterized by the rackmount M7. Considered to be the company’s masterpiece reverb, it is widely used by many professional studios and live sound engineers.

Yamaha and Bricasti have now collaborated to design a revolutionary new reverb for RIVAGE PM digital mixing systems.
The superb Y7 will be available at no cost as part of the Firmware V4.7 update, bringing the highest level of expressiveness, sound quality and operability to live sound engineers, further expanding the high quality options available to RIVAGE PM users.


Brian Zolner

“Together with Yamaha we are pleased to announce the release of the Y7 reverb. By working closely with the Yamaha development team, the Y7 was specifically designed for use in Yamaha RIVAGE PM digital mixing systems,” says Brian Zolner, CEO of Bricasti Design.

“It brings to the live market a Bricasti reverb that is integrated in the console for simple, fast, and familiar operation, as well as bringing the renowned ‘Bricasti sound’ to users of Yamaha products. We feel the Y7 will offer new art to the sound engineers and fulfil their requests for a premium reverb product from us for their consoles.”

Motome Tanaka

Motome Tanaka, Yamaha Group Manager, PA Marketing & Sales Group, adds, “We are very pleased to announce the release of the Y7, which we have co-developed with Bricasti Design.
“All Yamaha mixers are built on the philosophy of allowing engineers to capture the on-stage sound accurately, without colouration. Plug-ins play a vital role in allowing engineers to take this transparent sound and apply their artistry to the mix.
High quality reverb is one of the most important tools to achieve this and we are confident that the Y7 will become a key part of the creative expression for many sound engineers.

“We at Yamaha will continue to listen to the opinions of our customers and work hard to provide the most flexible systems and comfortable mixing environments.”

More on the Yamaha website

 

DiGiCo’s SD12 for open air The Flying Dutchman Opera

This August saw a magnificent production of The Flying Dutchman, Richard Wagner’s fifth masterpiece, brought to Lithuanian opera fans for the very first time.
Staged in a unique open-air setting by the Klaipėda State Musical Theatre and featuring leading Lithuanian soloists including Sandra Janušaitė, the event became one of the most celebrated musical productions of the year, selling out all of its socially distanced 1,000 seats to lucky spectators.

Dual DiGiCo SD12 96-channel consoles with two SD-Racks and D2-Racks were selected by one of the largest audio rental companies in the Baltics, NGR Service, to bring the magic of this one-act opera to life.

Fitting its original theme, the opera production took place on the slipway of Paul Willy Lindenau shipyard complex in Klaipėda, with its colossal structures and hoists, as well as frequently changing weather conditions, presenting the NGR team with some major challenges right from the start.
“The setting in the historic cruise ship terminal made for a unique and spectacular location, but it also meant dealing with rain and winds of up to 20 m/s whilst thinking of how to make the orchestra and soloists sound as natural as possible, as this would be staged in an acoustic concert hall,” reminisces NGR’s FOH Engineer, Tomas Ždanovičius.

“On top of the weather challenge, we also had to deal with constantly moving actors across a 50-metre stage, or even outside the stage at time, as well as special effects such as falling water and a real-life ship appearing during the performance. There were definitely one or two ‘firsts’ for us in this production.”

FOH Engineer, Tomas Ždanovičius.

In order to deal with such a challenging odyssey, NGR chose the DiGiCo SD12 console, which offered their team the ease of operation, fast function selection, and “without doubt, the best sound of any console currently on the market,” adds Ždanovičius.
Deploying their best technical minds and top-quality sound equipment on the site allowed the team to fully realise the creative production ideas of Concept and Artistic Director, Dalius Abaris.

“When it came to sound, it seemed that everything was against the NGR team,” says Abaris. “On location, the sound engineers repeatedly analyzed and evaluated wind speeds as well as rigging positions of the sound system depending on where the audience would sit, which would sometimes change on a daily basis due to the latest COVID restrictions. One day we had one ground floor layout, the next day another.”

Impressed by the professionalism the NGR team showed in the face of such adversities, Abaris explains how the team worked relentlessly to ensure they could transmit every sound to each member of the audience.
“Another complexity was, of course, the stage size,” he adds. “This was a big challenge, not just for the sound team but also for the performers. When people are separated by over 40-metres distance, the monitoring systems visibility and relationship with the conductor all have to be watertight, so to speak, not to mention the main PA and the delay systems.”

The « ground zero » orchestra and first floor choir and placed even further away.

NGR deployed two SD12 consoles, with the main one serving the soloists, orchestra, and special effects and submixer return groups; the other was used as a submixer for the choir’s 48 personal headsets. In total, between two consoles, 146 channels were utilized, not including FX returns.

“The scale of this production was just immense, and I didn’t hear a single artist saying that they felt uncomfortable singing, which is a major credit to the team’s abilities,” shares Abaris. “The installation of the sound equipment was a long process, as the team had to rig the system on an over-a-century-old shipyard construction.
They had to measure everything very precisely before putting up the three main PA clusters and the delay lines. The panning of the soloists was so accurate that the audience’s attention was focused on where the sound was coming from. It was definitely a feat to behold.”

The entire set-up included 70 wireless systems for the opera performers with omni-directional headsets, and a further 50 systems for the orchestra with clip-on lavalier mics and more. DiGiCo’s SD12 became invaluable when dealing with the soloists, who were in seven fixed positions across the stage, which was configured in ‘layers’ of around 50 metres in width.

The ghost boat, the stage and singers quite everywhere. Wireless is your friend !

“This was all dealt with by having pre-programmed panoramas in different Snapshots, with manual pan movements as necessary,” explains Ždanovičius. “The audio material for the entire show was recorded in multitrack and having the ability to expand the console with DMI cards was very convenient.”

Speaking about the functions on the SD12 that were particularly useful in this complex production, Ždanovičius notes the importance of the ergonomics of the console, as well the easy accessibility of the worksurface, which helped him react fast.
“Additionally, it was useful to be able to arrange the layout of the console in any way needed, as well as having all necessary channels next to each other independently of the input list positions. Finally, having two separate touch sensitive screens made my work as fluid as it can ever be,” he adds.

No way to mimic such extraordinary sky colors palette elsewhere than in the open air when and if the weather wants it.

Broadcast live on Lithuanian national television, LRT (Lietuvos radijas ir televizija), Wagner’s operatic feast passed with flying colours and was met with standing ovations by the fascinated audience.
“This was probably the first opera in Lithuania where there was no criticism from musicologists, critics or sound professionals certainly that I’m aware of so it was a complete success all the way,” states Abaris proudly.
“Working with the best orchestra and leading soloists of Lithuania requires the best sound quality, because everyone, from production directors to choir members, knows how the orchestra should sound,” concludes Ždanovičius.

“This is why DiGiCo consoles are chosen for these types of events, we can always trust the equipment. We particularly valued the system flexibility we gained with DMI cards: in this particular production, with the help of DMI cards and UB MADI we could split all the inputs to the OBVan, multitrack recording (main and backup), submixer and FX computer, which made the entire workflow seem like a serene ocean breeze amidst the storms and salvation of this magnificent production.”

Below, to watch the video of the story of the production:


More information on the Digico website

Colorado Batten Q15 Chauvet : Versatile

The new Chauvet Professional COLORado Batten Q15, RGBW LED bar, rated IP65, comes with a range of mounting options that adapt it to a wide variety of configurations.
The adjustable trunnions on this one-meter long RGBW LED batten, which can be adjust without tools on its integrated track, have been given an even greater degree of versatility with the addition of ¼ turn omega brackets.

Les différentes possibilités de montage de la Colorado Batten Q15.

Adding to the COLORado BattenQ15’s adaptability is a new system for joining different units together. Integrated into the end caps of the fixture is a system to connect units seamlessly for perfect row alignment. Since these attachments are weight bearing, the COLORado Batten Q15 can be hung “icicle style,” or arranged in tower configurations using the included hanging/floor mount plate.

“Given the demands of today’s market, when lighting rigs are being set up in many different types of settings, we feel that adaptable rigging options have never been more important,” said Albert Chauvet, CEO of Chauvet. “The COLORado Batten Q15 combines a high degree of rigging versatility with outstanding performance features.”

Video presentation

Among those performance features is the intense output from the new fixture’s 15 20-watt LEDs, which render beautiful and vivid colors and lend themselves to sizzling pixel mapped displays without the “skittle” look often associated with battens.

Capable of transitioning quickly from a smooth color wall wash to a stunning effect, the COLORado Batten Q15 features an elliptical 42 – 15-degree beam spread, a stowable glare shield, color temperature presets from 3200 K to 10000 K, and selectable smooth dimming curves. Designed to excel indoors or out, and in broadcast studios as well as on concert stages, the COLORado Batten Q15 is intended to be as versatile as it is reliable.

“Our customers are being asked to be more flexible and imaginative than ever today,” said Chauvet. “We developed this product to help them meet that challenge.”

More on the Chauvet Professional website

 

APG’s Uniline Compact Adaptability Key for French Cellist

When his international tour with the San Francisco symphonic orchestra got cancelled due to the spread of the pandemic, renowned French cellist, Gautier Capuçon, decided to bring music back to the towns and villages of France all while respecting healthcare and social distancing measures with a free tour entitled Un Été en France.
And when his concert in Mansle got threatened by the weather on the 11th August, he was able to relay on a sound engineer and a sound equipmentthat could adapt to the various challenges that were bound to rear their heads on that day.

The rehearsal with Gautier Capuçon close to his pianist. Clearly visible, one of the UC206W coupled to its UC115B subwoofer.

“When Gautier Capuçon’s team announced that he was going to tour France, the towns and villages wishing to host the shows were invited to contact him,” explained sound engineer Léopold Randon de Grolier. “He received well over 600 requests in 48 hours!”. Depending on the dates, the French virtuose was accompanied by either pianists Jérôme Ducros or Samuel Parent.
“During the exchanges with the artist, we received a technical sheet with expected references in terms of microphone placement and preferred sound systems,” he said. “The precision and fidelity of the sound required for classical music is extremely important, but thanks to APG and Radio Semnoz, we were able to supply a top-of-the-range sound recording and PA system that was perfectly adapted to the configuration and style of music.”

The concert poster before the storm gets involved !

While APG’s Uniline Compact (UC) range is flexible enough to support a wide range of musical genres, it is particularly well suited for classical music, according to APG’s sales and support engineer Maxence Castelain:
“APG’s embedded ISOTOP technology provides a more natural sound from the lower midrange level thanks to a coaxial arrangement of a paper cone loudspeaker and a compression chamber loaded by a phasing piece. This reduces distortion and offers a more natural sound”.
A major advantage for sound reinforcement of classical musical instruments such as the cello.

“Classical music concerts are usually happening in venues that are acoustically adapted to this genre, so sound reinforcement isn’t the norm,” explained Randon de Grolier. “Therefore, you must be reasonable in your approach and try to support the acoustic sound, faithfully, without distorting the artists’ sound.


This means having experience with classical instruments, knowing the qualities of particular microphones, and combining dynamic and static microphones to achieve accurate sound. The quality of sound expected by classical artist is close to the one they’ve used to when recording albums.

Leopold Randon de Grolier

“I generally record the sound checks to broadcast them into the sound system, so that the artist can listen and give his opinion on the sound in the venue. The feeling of the artist is more important than anything else, because they know the sound of their instrument best, and the accoustic result they want to achieve.”

Although the sound system itself was perfectly reliable, the same could not be said for the conditions in which it was to be deployed; Because of high risks of thunderstorms in Mansle that day, the organisers decided to move to an indoor venue, thus reducing capacity from 3,000 to 800 people.

“We had to adapt ourselves and the sound system accordingly,” said Randon de Grolier. “The intended system for the racecourse consisted of two stacks of four APG UC206W on top of two UC115B bass speakers, per side. To this main system, two UC206N per side were to be added on stands to cover the crowd on the outside. Obviously, this would have been beyond overkill for the smaller town hall in Mansle.”

APG UC206 Uniline compact

APG’s Uniline Compact system allowed him to set up a ‘distributed point source’ PA system in the town’s multipurpose hall, using two UC206Ns on stands on both ends to reach the audience at the back.
In addition, a UC206W was stacked on top of a UC115B, per side, placed in the centre, which were used to cover the first half of the hall across its entire width.

“The Uniline Compact loudspeakers allowed easy adaptation from outside to inside, simply by reducing the number of boxes and distributing them in a thoughtful way in relation to the acoustic characteristics of the room,” said the sound engineer. “The combination of the W (wide) and N (narrow) m loudspeaker models makes the system truly adaptable, and the APG Uniline Compact range proved very well suited to classical music sound reinforcement, as it provides faithful sound reproduction in a musical style that is demanding at this level.”

The UC simplicity and speed of set up allowed the sound engineer to fine-tune the placement of microphones. He knew he could also count on the technical support of APG’s Maxence Castelain and Alexis Reymond who assisted him from the logistical planning phase through to the concert day.

APG DA:50

“Mansle multipurpose hall’s concrete walls, ceiling, and floor made intelligibility a major issue,” said Randon de Grolier. “Thanks to APG Live Manager, it was fairly easy for me to set up the system quickly and obtain accurate and precise sound, with faithful rendering of the sound sources. On the amplification side, we had a DA:50 integrated DSP amplifier (for the UC206W and UC115B) per side and a DA:15 (for the UC206N).

For the microphones, we kept the same configuration as for the outdoor show: DPA 4099 and AKG C414 on the cello, 2 DPA 4099 and 2 Schoeps MK4 (active booms) for the piano, plus a suspended pair of DPA 4015’s and a public ambience pair DPA 4006’s. For control, I used a Yamaha TF3 console with Dante, in conjunction with the Yamaha TIO1608-D stage box.”

Léopold’s Yamaha desk.

Despite the last minute changes, the show was a resounding success; helping to give a glimpse into how the live production industry might be able to claw its way back from the brink in these most challenging unpredictable of times.

“I received wonderful feedback from the artist and his team on the sound of the concert, both during the sound check and afterwards,” said Randon de Grolier. “The artist’s wife, who is also a trained cellist, attended all the concerts on the tour and singled out the quality of the sound on the Mansle date. As for the audience and the press, there was excellent feedback. In short, everyone seems to have had a great time, and the adaptability of the APG system we chose had a lot to do with that.”

The concert. Barely exceeding the plateau we guess a UC206W attached to its UC115B.

The concert was so successful in fact, that the city of Mansle decided to rename its multipurpose hall “Salle Gautier Capuçon” during a ceremony which will be held later this year.

More on the APG website

 

1st installation of Robert Juliat Arthur followspot in France

The Georges-Pompidou Cultural Centre in Vincennes near Paris is the first venue in France to be equipped with an Arthur followspot, the latest addition to Robert Juliat’s range of LED followspots.

©Thibaut Plaire – Thiborama – Studio Plaire

With nearly 800 events a year, the town of Vincennes offers a rich cultural life and has three venues with quality facilities, including the Georges-Pompidou Cultural Centre. The 525-seat venue hosts many shows throughout the year during the cultural season, including music, theatre, dance, comedy and shows for younger audiences.

The Cultural Centre wanted to replace its 1200W HMI RJ Korrigan followspots and was looking for an LED model. “It was important for us to play the safety card in regard to quality and, of course, the feedback we had on the Robert Juliat luminaires. In addition, I personally consider LED equipment to be the future of our technical profession,” explains stage manager, Stéphane Agasse.
“The energy consumption of this LED followspot is minimal thanks to the efficiency of its source. This is perfectly in line with the environmental approach of the town of Vincennes, which has been running an action programme for several years as part of Agenda 21.


“The electronic dimming of Arthur’s LED source makes it possible to vary the light intensity and, therefore, also modulate the power consumption accordingly, which is not possible with our discharge fixtures whose consumption is constant throughout the show.”

Thanks to its powerful 800W 6000K cool white light source and narrow optics (5.5° – 15°), Arthur offers a massive output of over 2000lux at a distance of 40m, while at the same time providing a superior-quality light rendering with a high CRI (>90).

©Thibaut Plaire – Thiborama – Studio Plaire

The electronic dimming of the LED source allows the light intensity to be varied from 0 to 100% without visible stepping, even at low levels, with exceptional smoothing and a constant colour temperature. With several ventilation modes, Arthur is particularly quiet, ruling over its discharge counterparts!

Supplied to the Georges-Pompidou Cultural Centre by the Auvisys company, the RJ Arthur followspot will soon be at work, as soon as shows and other events resume.

More information about the new Arthur LED followspot and all Robert Juliat luminaires can be found on the Robert Juliat website

 

ETC ‘Rep Agency’ 3LR Lighting adds broadcast

ETC representative organization 3LR Lighting has added broadcast, film and TV; lighting and control to its portfolio for the UK and Ireland.

Jeremy Roberts, Regional Sales Manager for the UK and Sub-Saharan Africa comments: “It is great to have 3LR supporting the broadcast sector for ETC and especially well-timed as we have recently released our innovative new studio line of fixtures fos/4. The new Fresnel and Panel lights are designed specifically for the broadcast market with their unique 8 color LED mix and in-tense brightness.”

The addition of broadcast lighting and control goes alongside 3LR’s work in the growth of ETC’s architectural product lines. 3LR acts as an additional resource to ETC’s dealer network, bringing its expertise in the field to progress the company’s studio and architectural products in the market. As part of this extension into a bigger market, 3LR Lighting has announced the appointment of two new industry figures to its team: Barry Grubb and Sean O’Callaghan.

Barry Grubb

Barry Grubb joins 3LR as Business Development Manager for Broadcast, Television and Film Lighting. In a 25-year career, Barry has worked with some of the biggest names in the imaging in-dustry both in the UK and overseas, and has forged lasting relationships with stakeholders at all levels. He has contributed to a host of large productions and delivered a wide range of theatre and broadcast solutions with leading brands.

Sean O_Callaghan

Sean O’Callaghan takes up the post of Business Development Manager for Architectural Lighting. Sean’s career has seen him occupy a variety of sales and marketing roles for several global lighting manufacturers, during which time he has acquired a thorough grasp of the architectural lighting market.
Sean’s background in street, amenity and area lighting, naturally steered him into architec-tural, commercial, decorative and bespoke projects on every scale.

3LR Managing Director Matthew Lloyd adds: “We’re very pleased to be adding ETC’s broadcast lighting and control products to our portfolio and welcoming Barry and Sean to the team. With their combined industry expertise and our team’s experience in the sector, we look forward to building further customer relations and enhancing ETC’s market presence.”

For more info about ETC range of products, check the ETC Connect website

Nexo GEO M Line arrays for Savoie Expo auditorium

The SavoiExpo red walled complex. The Hall E is in he right side of the shot, photo taken by Clarisse Mériel her architect.

Savoiexpo is located in Chambéry, in the Alpine heart of France’s second tourist region. Strategically placed to take advantage of close links to Lyon and Geneva, as well as both winter sports and summer recreation, the venue organises a range of trade fairs and exhibitions and hosts major seminar and conference events.

Hall E was opened earlier this year, a substantial and versatile auditorium which can offer 2000 sq. metres of exhibition area, conference facilities for 1000 people, or accommodate 1200 people for a formal dinner.

Equipped with retractable seating, the auditorium required an audio system that would adapt to its different configurations, looking to NEXO for system design input and to the Chambéry-based ELYPSE Group for installation and integration services.


The E Hall with the retractable seats facing the system during his commissioning and fine tuning.

NEXO Engineering Support specialist Christophe Girres visited Chambéry to fine-tune the finished system. “We are asking the system to work in three different ways, so the final tuning session went through these settings.

Christophe Girres

In the first configuration, we had the stage immediately in front of the seating stands. In the second configuration, the stage is set up further away, but the audience are still seated in the stands. In the third configuration, there are no seating stands so the audience is standing around in a large free area.
In order to achieve these three iterations, all elements of the PA system are mobile, with a special square truss to hold the sub clusters and suspend the point-source P8 outfill and centre fill cabinets. The GEO M10 line array is rigged on points in front of the truss, and these are mobile too.”


The 6x M10 hangs with a P8 acting as a centre fill, fixed on the same black truss as the MSUB15s.

Each array of NEXO’s mid-size GEO M10 is set up with 5x M1012 plus a single M1025 module with 120 degree flange. The L/R clusters are completed by left/right pairs of MSUB15s, which fly behind the main arrays, presenting a very tidy aesthetic.

A pair of NEXO’s new compact point source P8 cabinets with 100 degrees x 100 degrees dispersion are used for the outfill, with a single P8 (110 x 60 degree dispersion) handles the centre fill. The whole system is powered by two NXAMP4x2Mk2 amplifiers.


The NEXO system as seen by the audience

“We listened to a lot of different tracks, including EDM at high levels, and the Savoiexpo engineers were surprised that the system was not at all aggressive, even at such high SPLs. The system is very clear in the mid-range, and the low end is perfectly suited to the applications, mainly conference and video, and small concerts.”

Further information from:

– Elypse Group mail: contact@groupeelypse.com
– The Nexo website

Jean-Philippe Colonna is the new CEO of ESL company

The AC Entertainment Technologies Group announces the appointment of the new CEO of ESL company which it owns. Holder of an MBA (HEC Paris), Jean-Philippe Colonna worked at Philips Lighting for 10 years before joining ESL in September 2019 as Managing Director.

Jean-Philippe Colonna: “My first feeling is humility and solidarity because of the serious COVID 19 crisis which deeply impacts all of us (my thoughts go to the rental community which is suffering a lot). ESL is and will continue to deliver the best service to its customers during these difficult times.

Of course, I am glad and honoured to take this new role at ESL as I have always admired this company.
Since 2005 when I started to sell lamps to ESL (as a Philips sales rep.), I knew this company has something special compared to its competitors:
its internal culture which brings professionalism, technical expertise and sympathy to its customers and also, inspires attractiveness to employees and potential new talent as ESL is a fantastic company to work for.

On top of its image and technical expertise, ESL offers further strong assets such as a solid balance sheet (very little debt) and being part of the well-known AC Entertainment Technologies Group. This gives us hope and confidence to enhance our customers added value in the years to come. Furthermore, we just entered in a brand-new building based in Saint-Jean-de-Védas South of France: larger, well equipped and more suitable to our daily business and growth ambition.

Our day-to-day focus remains on the management of this crisis. However, this gives us some time to reflect and put in place new development strategies which we will be able to communicate on in the next few weeks/months. ESL will continue to increase its customer value and contribute to create culture and passion to people.”

SoundWorks and WPS for Richmond Symphony Orchestra

When Richmond, VA-based Soundworks took delivery of their Martin Audio WPS and WPC line array systems in February this year, they little knew that the world was within one month of lockdown. “The pandemic shut down all of our bookings from mid-March forward,” recalls CEO, Steve Payne.
The company had to wait until the end of summer for the maiden voyage for both systems. But when it came in the shape of two socially distanced outdoor concerts by the Richmond Symphony Orchestra—it really set tongues wagging.

Soundworks CEO Steve Payne.

Soundworks have been contracted to provide sound reinforcement for all Richmond Symphony Orchestra’s community outreach concerts since 2015. “Each season the RSO will incorporate the performance of a popular local or regional artist into one of their ‘Big Tent’ gigs,” he explains.

“The arranger will write scores for orchestral accompaniment to six or so of the guest artist’s songs. Past musical artists have included a wide range of musical styles and genres, and this year’s featured artist was the Commonwealth Bluegrass Band.”

The Big Tent with 8 WPS, 3 SXH218 subs in cardio mode and a single CDD-LIVE 15 as outfill.

Still to thoroughly road test their new scalable Wavefront Performance rigs, Soundworks used the September 12th show at Maymont Park to evaluate the power of WPS in the delay position with a view to future main FOH deployment.
“The venue required that we cover a depth of 420ft, so we used two hangs of eight WPC for the main PA, with three SXH218 subs ground stacked per side, and two hangs of eight WPS for delays at 220 feet, with a CDD-LIVE 15 at each of the main hangs as outfills.” The audience size was capped at 700, socially distanced.

The delays of the Big Tent, 8 WPS.

“The conclusion was that WPS had plenty of impact and presence for use as a main system. We could not be certain that the WPS would be able to punch out to 290 feet as required at the next gig but felt sufficiently confident to give it a try.”
The next show was two weeks later at Pocahontas State Park in Chesterfield, VA, and around 500 socially distanced people were spread over an area that could have accommodated a maximum of 4,000 (standing).

At Pocahontas State Park, the view from the stage with the 8 hanged WPS.

“The performance of the little WPS in this space just seemed to fly in the face of logic and break all the rules,” exclaimed Payne. “There was little doubt that they were entirely capable of serving as mains.
The first time we fired them up at Pocahontas was quite a revelation. The sound and performance were far above what one would expect from an 8” box. The rig did a stellar job of providing even, high fidelity audio out to 290 feet.”


Reflecting on both events, the Soundworks CEO continued, “The area for both concerts, but especially the Maymont Park concert, could accommodate a crowd vastly larger than the safely distanced audience. We do the Richmond Jazz Festival in this same space each year where audience size can approach 7,000. To cover the areas properly we are putting in systems capable of covering approximately 10 times the audience size under normal conditions.”
Seating at the Maymont concert included close seating to the sides of the stage which were out of the pattern of the WPC arrays. “We supplemented these areas with CDD-LIVE 15s on lifts at a height of about 10 feet. We were very pleased with the tonal integration between CDD-LIVE and Wavefront Precision,” he remarked.

Steve Payne himself carried out the venue measurements and system design in Display 2.3. “Due to available amp channels [in the Martin Audio iK amps] both WPC and WPS systems were set to 2-box resolution at Maymont,” he states. “For the Pocahontas Park gig the WPS system was run at 1-box resolution.”

Bryan Hargrave

Bryan Hargrave was the system tech and Steve Payne his assistant at both gigs. Jason Misterka mixed FOH at Maymont, while Grant Howard occupied the same role at Pocahontas.
As for the music source, with acoustic bluegrass and orchestral backup they had plenty of headroom in the system. “The sound was full and really pleasing, while the vocals were riding on top of the mix and right in my face. It was as good as I could have wished for.
“Both gigs were acoustic performances and so the real test put to the systems on these gigs was accurate fidelity, even coverage and long throw capability. Max SPL was never tested.”

Martin Audio’s ‘Hard Avoid’ feature worked beautifully at both gigs, he confirmed. “The advantage is especially noticeable with multiple open mics and acoustic instruments on stage. On some systems low mid build-up on stage rolling back off the PA can be a problem and create the need for remedial FOH EQing.”

Little box, big sound.

Grant Howard

But in this regard, FOH mixer Grant Howard commented: “Basically all I had to do was shove the faders up. I left the house EQ flat and I barely touched the channel EQ.”

Steve Payne believes the main difference between a socially distanced audience vs. a tightly packed audience is that the system can be run at a 6 to 10dB lower volume to achieve the same result. “I don’t think there is any difference in approach to tuning or Eqing.
“Martin Audio guarantees measured system performance will be within ± 1dB of the performance predicted by Display 2.3. With Wavefront Precision systems we have found that measurement systems such as SMAART are now essentially verifying target performance rather than revealing information to be used for correction. It’s very impressive.”

The Richmond Symphony Orchestra also found it impressive. Stated their Production Manager, Brent Bowden, “Pocahontas sounded fantastic and I heard many positive comments.

The WPS ready to fly !

“I have heard a number of different line array systems over the years, both indoor and outdoor and some key factors stood out at these shows that I really enjoyed, apart from top notch engineering.
Vocal clarity was noticeable without the dB spike that often results from boosting the human voice above other instruments. The evenness of the level in various locations was also very good, especially difficult in a flat, open park with delays.”

In conclusion, Steve Payne is confident that these systems will soon repay the investment despite sitting idle through the summer’s COVID pandemic. “We expect WPS to be capable of covering 75% of the gigs we used to cover with another manufacturer’s 10” system.

“To get the kind of performance that this system delivers out of a passive, physically diminutive 60lb box with 8” drivers is stunning. The symphony sounded gorgeous at every seat in the house, just stupid good! I am sure it will be the first rig to leave the shop at every opportunity. And of course having both WPC and WPL systems in our warehouse we can easily ramp up the performance whenever required.”

More information on the Martin Audio website

 

Ayrton Khamsin-S for the iHeartCountry Festival 2020

Lighting designer, Tom Kenny chose Ayrton Khamsin-S profiles as key lights in his design for this year’s iHeartCountry Festival, presented by Capital One, which was live streamed globally and broadcast on iHeartMedia’s country radio stations on 23 October.

Bandit Lites supplied 24 of Ayrton’s Khamsin-S fixtures for this 7th annual celebration of country music which was rescheduled from its original slot in May at the Frank Erwin Centre in Austin, Texas, and relocated to The Steel Mill in Nashville, Tennessee.

Photo by Kevin Mazur/Getty for iHeartMedia

Kenny is a lighting designer with over 40 years of experience on both sides of the Atlantic who moves easily between lighting live music and television spectaculars. His client list includes rock superstars like Robert Plant, Jimmy Page, David Byrne, Eric Clapton, David Bowie and The Who, and his television credits number a multiplicity of music award shows, documentaries and TV specials.

Photo by Kevin Mazur/Getty for iHeartMedia

“I’d always wanted to use Ayrton’s new fixtures, having used their effects lighting many times before, yet never had the chance until now,” Kenny says. “So when Bandit Lites approached me with the Khamsin-S, I jumped at the opportunity.”

The Khamsin-S fixtures were installed in the overhead grid of The Steel Mill’s 200ft x 79ft studio from where Kenny used them for back, front and key lighting of the bands and as ‘scenery’ for single artists.

Ayrton Khamsin S

“The Khamsins were amazing in all aspects: the colour, power, speed and colour temperature were all perfect for television lighting the temperatures in particular were just beautiful,” says Kenny.
“Every lamp was perfect on set up and stayed perfect without any adjustment. I’m very fortunate that many manufacturers ask me to try out their latest fixtures on my TV shows.
I like trying new products and can be relied upon to give them an honest opinion. The Khamsins are just fabulous lights and I was really impressed with them.”
The iHeartCountry Festival line up included veteran and new country stars from Dierks Bentley and Lady A to Kelsea Ballerini and Dustin Lynch, and Kenny made sure the Khamsin-S fixtures were kept busy throughout the day and night.

“On a show like this which involves so many artists from different age groups and styles, I am like a coffee shop barrista when it comes to the lighting!” says Kenny. “I need to be ready for anything in an instant… ‘What do you want? Order it up and off we go!’ The Khamsins handled it all with ease. They were extremely versatile and quick, reacting to every situation and demand in super-quick time without any problems.

Photo by Kevin Mazur/Getty for iHeartMedia

“We were able to create some really dramatic stand-out moments such as the beautiful backlighting for Kelsea Ballerini – any time you can turn everything off and use a single backlight is a real wow moment! And for Dierks Bentley I was able to use them in a way that was reminiscent of old Leko/theatrical lighting. I didn’t treat the Khamsins as moving lights and they were perfect for lighting both young and mature artists in a sympathetic way.”

Kenny was also impressed with the output of the Khamsin, despite The Steel Mill’s throw distance being shorter than he is used to. “You could see the Khamsins had lots of power and depth to spare even though the trim height at The Steel Mill is only 25ft.
They were up against a grid of very powerful other products and lots of heavy smoke effects, but they cut their way through everything with ease. They kept their colour and shape and performed wonderfully under the stress. They are just gorgeous and I’m going to start spec’ing them on many more shows.”

Photo by Kevin Mazur/Getty for iHeartMedia

This is something that pleases the Festival’s lighting vendors, Bandit Lites, a long-time advocate of Ayrton. “Mike Golden and I were really pleased that Tom spec’d Khamsin-S on the recent iHeart event at the Steel Mill,” says Dizzy Gosnell, Production Director at Bandit Lites who points out: “The missing link for lighting companies has been the availability of a high output LED powered profile head, and the Ayrton Khamsin-S really ticks all the boxes for us at Bandit with its features.
Of course, not having a bulb in there to ‘go brown on you’ is a major deal for companies and designers alike. And add to that the thumping output coming out of the front end, great beam width capacity, colour mixing, good framing, 540º pan, good CRI for video, to name just a few. We’re really happy that we have the Khamsin-S in our arsenal at Bandit.”

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

Addio Sergio

Sergio started working as the exclusive distributor for NEXO in Italy in 1982, just three years after the company was founded, and he quickly became a key player in the young loudspeaker manufacturing business.
A former front-of-house engineer who discovered he preferred the commercial environment of equipment sales, he was able to bring real-world influence to his collaborations with NEXO’s charismatic technical director Eric Vincenot.

In 2002, he moved into a full-time role managing sales in Italy, Slovenia, Croatia and Albania. One of his first dealership appointments for NEXO Italy was Audio Rent, the rental and sales company run by his great friend Gianni Fantini.
“I’ve known Sergio for 40 years, and he never changed: in all that time, he never grew up! He was always smiling, always joking, always in love with the audio world. Working with Sergio was never boring; he was full of funny and strange stories.
Here in Italy, he was known as ‘esagerato’ (exaggerated, extreme), which tells you everything about his personality. As a business colleague, he was always in touch with the news around our world, and he was always available to us. I’m fairly sure he could sell sand in the desert!”

As one of the four subsidiary sales managers, Sergio played a key role in the NEXO team. With his peerless contacts in the Italian production community, he was equally at home with the once-extensive nightclub world of the Adriatic Coast and with the glamorous large-format concert and TV productions of Rome and Milan.

“Sergio had a special combination of technical expertise and people skills,” says Gareth Collyer, NEXO’s Sales and Marketing Director. “He was one of the most experienced members of the sales team, but his passing affects us all more than professionally; he was a valued friend and one of the true characters in our industry.”

More on the Nexo website

Shure announces investment in soft company Wavemark

Shure is strengthening its focus on software solutions by announcing a strategic investment in Finnish software company Ab Wavemark Oy.
Known for its software solutions for theater, broadcast, and content streaming applications such as Wavetool and WTAutomixer, Wavemark has recently expanded its software portfolio into streaming applications.

It now offers WTAutomixer, a plug-in enabling seamless auto-mixing for uses like podcasting, remote learning, and house of worship services.

Shure WT Automixer

WTAutomixer is the first multi-channel gain sharing automixer that can be inserted to almost any DAW as a VST3, AU, or AAX plug-in. WTAutomixer automatically controls the gains of multiple microphones and is ideal for live streams, discussion panels, talk shows, religious services, and for any application that requires the use of multiple microphones.

Wavetool is a monitoring and listening solution for professional audio engineers.

Wavetool en action sur des liaisons Axient Digital aux mains du prestataire hongrois Delta Classic.

It works with a variety of wireless equipment brands and supports mobile streaming of audio channels with the Wavetool Mobile Remote app.
Wavetool has been used in conjunction with several high-profile theater applications using Shure Axient® Digital Wireless Systems.

Shure’s software offerings, which include Wireless Workbench® for live events, plus Designer, SystemOn, and its new IntelliMix® Room Audio Processing Software for integrated systems, provide customers with a variety of different solutions for audio management.


Brian Woodland

“This move reinforces our commitment to the evolving needs of the pro audio and events industries,” said Brian Woodland, Vice President, Global Business Development, Shure.

“Both Shure and Wavemark have established strong relationships in the industry by understanding user workflows.
Leveraging this mutual success, we will further support the growth in wireless system scale and complexity, help customers navigate the challenges of congested RF spectrum, while enabling advanced remote control, monitoring, and system management tools.”


Timo Liski

“We are very proud of this collaborative approach with Shure,” said Timo Liski, Commercial Director at Wavemark.
“The ability to share ideas and leverage synergies around software will be beneficial to customers in the audio industry.”

More information on:

– The WaveTool website
– The WT Automixer website
– The Shure website