French Hitmaker Calogero under the innovative lights of Award winning Vincent Lérisson

It was during two consecutive concerts given at the Tony Garnier Halle (in Lyon) and, a few days later, at the Accor Hotel Arena (Paris, nicknamed “Bercy” since its creation) that we were able to experience this fabulous show.
Vincent Lérisson is a lighting designer known for his impressive and energetic lights, which are completely done live – no time-code or other lighting equivalent of “lip-syncing”. Vincent advocates a certain approach to live lighting interpretation, making it his trademark.
He’s just won the “Opus – German 2019 Stage Award” for Stage Production for his former work on the Justice “Woman Worldwide” tour.

This honorary award is given annually on the occasion of Prolight + Sound exhibition, in Frankfurt.
The jury and board of trustees of the award are made up of representatives of the The German Entertainment Technology
Association (VPLT) and the European Association of Event Centers (EVVC), as well as experts, representatives of the trade press and Messe Frankfurt.

The Svobodas provide depth and warmth, the “stockings” create volume, and the light of the MagicPanels creates a show.


Though he is not alone in being deeply attached to the living energy of light and its manual control (as is the case with other lighting designers, including myself), we can still emphasize that, in this field, he is among the best of his kind in our country.
If we add to this a taste for his unique lighting and a “touch” that we can recognize as his signature, it was important for us to highlight his latest work, which was so successful and remarkably well received by all those who were able to attend one of these concerts.

Besides, this fellow is used to it. He has already demonstrated his talents on a regular basis with some outstanding achievements. It is important to note that he is also the lighting designer for Justice. If you can read French (or just enjoy the photos and the diagrams, they speak by themselves), we invite you to read the article we had previously written about him on Louise Attaque’s tour.

The Bercy team including (standing, from left to the right): Olivier “L’Abeille” Alain, Jules Lajoie, Vincent Lérisson, Aurélien Visbeq, Marion Hervieux, Jean-Maxence Chagnon, Sébastien Sacco, Martial Blond, Christophe “Poussin” Beaup, Philippe L’Écu Ducouret, Jérémy Dufeux, Louis Perrin, Sébastien Richardon,
and kneeling: Antoine Tomasi, Christophe Janin, Cyril Vlaemink, Yvan “Vanvan” Petit Pierre, Alexandre “La Mangue” Tuloup.

As is usually the case, a project like this is the work of a team. Vincent also has his associates, who play an essential role. We can mention in particular Sébastien Sacco, who manages and integrates all the network systems… There is Rico, who manages the stage machinery conceived by the designer, and who must operate a bunch of mechanisms that move up and down throughout the show… There is also Jérémy who assists Vincent at the console and who replaces him on dates when he is not able to be there.
There is “Ecureuil” (“Squirrel”) and the MECAoctet team who developed the whole complex motorization process to give life to huge elevators that are illuminated and that constantly modify the appearance of the stage… There is also… in short, there are lots of people who brought this beautiful concept to life.

A global view of the scenographic infrastructure.

The lighting of the stage is largely based on two well-defined elements, which are unique and outstanding in the design of this show.
The first of these is a backdrop, entirely covered with Svoboda fixtures, while the second is a roof, which is in fact an impressive mechanism of motorized “pods” that can work at any height, reshaping the space and scale of the stage as the songs are performed.
Other more traditional elements complete the project, and we’re going to take a closer look at how.

The backdrop – the “svobs”

Vincent Lérisson in front of his wall of Svobodas.

So let’s talk about the backdrop. It is a wall of 60 Svoboda fixtures mounted on Spotlight motorized yokes.
The assembly was carried out by Dushow, who provided all the lighting equipment for the tour, following Vincent’s requests.

The backs of the fixtures are fitted with mirrors, taking up the distinctive and asymmetrical shape of the Svoboda. The mirrors are made of Dibond, a material on a panel designed to be used for cut-out elements in the creation of signs, scenery, etc… Each Svoboda with its moving yoke weighs 54 kg.

The control of the fixtures is carried out through four 16-bit pan and tilt parameters (i.e. two channels per function) and a fifth channel for the external dimmer using the conventional method. The units are positioned on a gigantic grid constructed specifically for this purpose and arranged into six rows of ten fixtures. This assembly consists of separate modules.

The formidable effectiveness of the Svobodas.

Each module consists of four fixtures, arrayed in squares, which are transported mounted and cabled in bins of three modules each. They are mounted level by level and taken down in the same way. When suspended, the whole thing – including the lights, cabling and grid – weighs about four tons. Side-Up created this hanging system, as well as a significant part of the set.
Personally, I found it absolutely magical. The warm and “traditional” look of this ensemble, worked into the middle of a decidedly modern structure – in stark contrast to this type of source – is incredibly impressive. Vincent specializes in this kind of union. It’s part of his signature and he has mastered it.

The roof, the pods and their “stockings”

The entire upper part of the stage is occupied by a huge system of trusses that supports a set of 21 moving elements, organized in three rows of seven. Each element has a Claypaky Mythos and three Ayrton MagicPanel-FX on its underside.

The “stockings” system fully extended.

This square, with its fixtures, can be lowered almost to the floor, leading to the deployment of the white fabric stretched over its four sides, inside which there are two Claypaky K20s that enable the whole thing to be completely colored.

The deployment occurs over a course of nearly ten meters and allows quite spectacular spatial effects: bringing the fixtures they support into play at angles that constantly vary and so that they can be used “low to the ground” above the musicians’ heads, but also providing a medium for video projection over the entire surface of the fabric and on three sides. In short, it is a very complex structure that we would never be able to fully describe and that is heavily exploited during this show.

The stocking system in its retracted position.

When the pods are retracted into the upper section, they give way to a broad and uncluttered scene, in which the beams of the Svobodas and Mythos radiate out over large spaces.
For the following song, when it descends almost to the limit, the roof “squashes” the artists, who are confined with a very low clearance, just a few dozen centimeters above their heads…

The effect is striking – as the motorization of large-scale scenic elements can often be – but here again, the concept is really pushed to a whole new level and each time offers a surprising visual effect and a powerful emotional vector throughout the show.

The floor

The upstage floor, with the Mythos and Chorus Lines at the foot of the array of Svobodas.

The floor seems almost empty because the kit that occupies the top and bottom of the set is so imposing, but it is of great importance, especially for its interaction with the two large moving structures.
It consists of Claypaky Mythos, Elation Chorus Line motorized LED battens, and a bunch of Martin Atomic LED strobes.

The upstage floor is occupied by six Mythos and seven Chorus Lines. These provide sometimes very intense and impressive backlighting, and the Mythos also allow beams to be directed to the MagicPanel-FXs located higher up, or even to the rear mirrors of the Svobodas.

Playing with the Chorus Lines.

We also find two lateral deployments, with three sets of two Chorus-Lines mounted vertically in pairs, plus three Mythos on each side.
All this floor kit allows for a multitude of combinations that are very well thought out.

The Mythos on the floor projecting gobos onto the deployed “stockings”.

The key lighting and cross lighting.

The lateral trusses with BMFLs.

A front truss equipped with ten BMFLs provides key lighting for the musicians. Between these fixtures, eight Chorus Lines are positioned to respond to those on the floor and to direct flat beam blades towards the stage or the audience.
A set of four BMFLs per side, positioned on lateral trusses, completes the lighting for the musicians.

The video, a strategic support with finesse.

During certain parts of the concert, often the more intimate ones, Vincent uses the resources of automation, light and video…

The video in this show is not predominant and is simply used to convey certain content related to the songs, or close-ups of the performers.
The images are projected on the canvas deployed by the descent of the pods, from six video projectors, two frontal units of 30,000 lumens each, and two units of 20,000 lumens each on both sides to project certain images for depth onto the sides of the “stockings”.

Alabama provided the video production and crew. The dressing of the corners of the “stockings” allows for a very nice depth and still reinforces the “three-dimensional” aspect.

…to create paintings, some of which are perfectly intertwined to create a scene specific to each song.

Interview with Vincent Lérisson

We met Vincent Lérisson to ask him some questions about his work on this tour.

SLU : How did you get involved in this project and what were the criteria?

The video projection plays with the mirrors on the backs of the Svobodas…

Vincent Lérisson : Calogero and his artistic director had been following different things I had done since the 2012 Justice tour, without my being aware of it, and they contacted me and proposed that I work on this project, because they wanted to change their universe: “We like your touch,” and so on. At the very beginning, there was actually a potential set designer, and they finally entrusted me with the scenography as well.

…and the Mythos with those of the MagicPanels.

As for directives, I didn’t really get any, except maybe from Thierry Suc, the producer, who wanted a rather colorful design and not too “black and white”. And this corresponded well with the artist’s requests for something lighter and more “pop”.

SLU : We can recognize your “touch”, with some key elements that you are fond of and that you use in different ways, especially with this movement of material in space.

Vincent Lérisson : I like it when things can come magically to life. It’s something I’ve been working on for a long time; something I’m always looking for. I like to modulate space with light. This involves the suspension of the lights, the animation using movements with props that move around the artists on stage.
I am lucky to have found people who know how to do it and who support me.

The NPU rack and network connections via Luminex Gigacore switches.

SLU : On this tour, there is a lot of material that has obviously been designed and built specifically for this show. In this case, who finances the creations and what is the proportion of specific purchases and rentals?

Vincent Lérisson : There are two parts. The production finances part of it, such as the frames, the pod hardware, everything that is purely decorative and various accessories that are entirely specific to the show.
And for all the mechanization and technology developed for this show, it is the vendors who have invested to develop the equipment.

Obviously there is a cost that is passed on in the “per date” billing for the service by the vendor, but it has been a very big investment for those companies and they have spent a lot of time developing very specific systems for this tour.

SLU : Regarding the video, what was your approach to integrating it into the show? Was it your idea to integrate cameras or a request from the artist?

Vincent Lérisson : The project was born with the idea of not using any video. The artist, though, still had the feeling that it would be a little frustrating for the audience far from the stage in the larger venues not to see the performers well. However, he wanted to avoid the traditional video screen placed on stage or suspended.
Since I had conceived this concept with the white “stockings” that unfurl, I thought that we could project onto this surface, even onto the three sides that are visible to the public. This required placing lateral projectors, but the idea of a three-dimensional effect was really cool.
Then, technically, we set up a whole mapping system that links the movements of the stockings to the video projection. There is an interface that ensures that the image never protrudes beyond the surface deployed by the movements of the “stockings”.

A mix of video and Mythos effects on the “stockings”.

The video is not done here as a key element of the show, but once we had the video projectors integrated into the kit, we tried to use them intelligently at different times to create certain textures or dressings. The content was developed internally with Seb Sacco.
As the basis of the presence of video in this show is the I-Mag, we have a total of four cameras, including one FoH camera that captures a good part of the show, and three remote ones distributed around the stage, controlled from a small control position near the stage. Everything goes through an Avolites AI server and the mix is done live from the lighting console. The cameramen only have to take care of the frame, zoom and focus.

SLU : Let’s talk about your famous “pods”.

Vincent Lérisson : In fact, it was an idea I had, but I didn’t really know how to make it happen. It was intended to take a prominent role in the show. We have a system that both supports the fixtures and allows for unlimited angle changes. This allows us to modify the volume of the scenery above the musicians. These elements are decorative and are illuminated from the inside, and lastly there is the “video” aspect, because the system serves as a projection screen. It is a multi-purpose set piece.

Very impressive backlighting and color effects.

I contacted a company that designs and creates this kind of thing for our industry – MECAoctet. They are very skilled in both automation and servo-control of all kinds, and they know how to adapt industrial equipment to create a lot of things that simply don’t exist for the entertainment industry. And this company is run by people who are familiar with our business and with touring. And they fulfilled and even exceeded our expectations, and even more.

Spectacular special effects through the use of the motorized stockings and their internal coloring by the K20s.

SLU : How is the system operated during the show? Do you send commands from your console?

Vincent Lérisson : No. The system is controlled by Rico, who is stationed at the side of the stage. It uses a dedicated software developed by MECAoctets that reacts to specific commands.
The operator is essential mainly for safety considerations. The pods are capable of descending all the way to the floor, but we have set up limits to avoid any incidents.

SLU : I saw that you really use a lot of ambiance lighting on the audience. Is it your intention to illuminate the public so intensely?

Vincent Lérisson : It was a request from the artist, who needs to see the audience. It may seem a little harsh on the crowd, but it’s really important to him. It lets him feel more comfortable. It’s part of the compromises I have to make. During the tour, we added trusses all over the venue above the audience with SGM P5 LED fixtures to illuminate the audience from a less blinding angle.

A balanced mix of video and lighting effects.

SLU : Is this rig intended for big venues only or do you plan to be able to take it to festivals?

Vincent Lérisson : For festivals, we take everything but the pods with us. There are two reasons for this. The first is that we’re going to be playing on certain dates that won’t be able to accommodate such a structure.
The second is wind… the system of pods represents such a wind catcher that it isn’t possible to use it on outdoor stages. They are veritable sails, arranged just a few centimeters apart…
We take the whole wall of Svobodas, all the floor kit and, for the rest, we adapt.

Vincent Lérisson and Jeremy Dufeux in action.

SLU : Tell us about your team.

Vincent Lérisson : I have a few main people who are competent in very specific fields and with whom I like to work.
Seb Sacco, for the network, Jeremy at the desk who replaces me on certain dates, Rico runs the motors, and Poussin does one of the followspots.

And I work with the Dushow team, which is made up of really great people. In particular, there is Aurélien, the lead followspot operator, who has worked with Calogéro for a long time, and who helped me a lot on many occasions during the creative process.

SLU : You’re not on all the shows because you’re touring with Justice at the same time, if I’m not mistaken?

Vincent Lérisson : Yes, exactly. This is the first time that I have not been at the helm of one of my creations every night. It’s sort of a new experience for me. It has both positive and negative aspects. The good part about it is that, when you go back on the tour after a while, you get a fresh look at the show.
But on the other hand, I am very fond of making the show evolve as the tour progresses, because very often the artist’s interpretation itself can change, and here, I can’t do that. When there are changes along the way, I need to see things to make my sequences evolve, so it’s quite difficult for me in that sense.
I like to modify, refine, test, and then discuss it with the team. I like to take everyone’s thoughts into account. Everyone brings something to the show, so I include them in that process.

SLU : I noticed that there is a lot of light that can sometimes seem a little aggressive for the musicians’ eyes on stage. Do you have any problems with them, as far as that is concerned?

The MagicPanels used for massive impact…

Vincent Lérisson : It is true that “my touch” is known for throwing some violent lights, so from the very beginning I warned them. I therefore started the discussion so that everyone would be comfortable and understand what I was going to do. There are black-outs, bright lights, radical angle changes, “punches” and so on. I ask them to be open-minded and to try to understand the artistic dimension as much as possible.

…with an intense and effective exploitation of their limitless tilt rotation.

Then, if there are things that raise purely technical problems, solutions are found.
It was a conversation I had first with Calogéro, in particular, so that he would be well aware that on stage it was likely to move, but also that a good part of the lighting effects that I use would also come from there. Everyone has been on board and, overall, things are going well.

The motorized pods by MECAoctet

We met with Philippe Ducouret, one of the managers of MECAoctet, who developed the entire motorized pod system. Interview.

SLU : Philippe, can you tell us about your company and its involvement in the Calogéro show?

Philippe Ducouret : The company is called MECAoctet and we are a young company founded about three years ago, based near Toulouse. There are four partners: two software developers and two electromechanical specialists. We work in the field of motor control systems, and develop our own hardware and software for our projects.

Aggressive and impressive backlighting.

We come from very different backgrounds: a PhD in mathematics, industrial engineers, but also show business people, like me, who have been working in this sector for many years.
We have known Vincent for some time now, having already worked with him on some projects.

SLU : And what exactly is this system you have designed?

Philippe Ducouret : The concept consists of 21 pods, each with a square base measuring 2.3 m x 2.3 m. They are motorized and independently controlled. The descent of each pod deploys a canvas “stocking” which forms a backlit surface that also serves for projection. Each element weighs 495 kg, for a total weight of 13 tons for all the pods.

SLU : Technically, what does it consist of in terms of hardware?

Philippe Ducouret : The mechanical design of each pod is based on two frames. One is fixed, attached to the grid that supports the entire assembly, and the other moves vertically powered by a system of motors that drive three chains.
This frame pulls the fabric with it, which unfolds, and the whole thing can be lowered nine meters and supports a set of four moving heads. The purely “metalwork” production of the frames was done by Side-up, a company based in Nimes, who also manufactured most of the baskets and trolleys used to transport the technical elements of this show.

When the Svobodas create a pop/rock/romantic atmosphere.

SLU : And for control?

Philippe Ducouret : We developed the software that controls each pod independently, but also with a degree of interpolation (which allows for example to create “waves” in the movements between pods).
The software development also required the implementation of a control interface for the show operator who runs the system live. Depending on the needs of the show, he can “draw” a shape in real time that can be used for the entire set, and also manage the movement of each unit. It can be a repositioning, as well as an evolution in motion.

The baskets for the Svobodas are brought in for the load-out to the trucks.

SLU : As for safety?

Philippe Ducouret : For this ensemble that evolves above the stage, we had to devise several levels of protection. This involves braking systems that block all movement in the event of a power failure, monitoring the data transmission network, an emergency stop button, of course, and more. Everything is organized so that there are no incidents.

SLU : And for the implementation?

Philippe Ducouret : It’s quite simple: there’s a square grid of 500 mm trussing provided by Transit (who provides the rigging on the tour), which is supported by twelve 2-ton hoists configured with pulleys, and which is mainly composed of three trusses – corresponding to our three depths – and on which we hang our 21 pods (3 x 7). When folded, these modules had to be 1.3 m high, including the fixtures, to be able to load ten of them into a semi-trailer.

SLU : You tackled the project from a technical point of view, but did you also look at it from an artistic point of view?

Philippe Ducouret : Absolutely! It is important to include emotionally relevant information. For example, strictly speaking, a simple movement of the stage curtain is a purely technical action, but one which you can “bring to life” by the way you manipulate it. Here it is a kind of the same thing. There was much thought given to movement, the speed of the movement, how the elements will evolve among themselves, and how to deliver a result that meets the artistic’s expectations.

The power and energy of the light from the motorized Svobodas. Absolutely beautiful.

We were once again captivated by the sumptuous lighting of Mr. Vincent Lérisson. Here again, he has created a splendid design that demonstrates a superb use of technology in a surprising and grandiose production, with a dazzlingly vivid light, entirely controlled “live” by the hand and the sensibilities of the lighting designer.
Nothing will ever replace it as long as “live” music at least purports to convey an emotion to the audience. Bravo!

The teams.

Lighting equipment list.

Lighting plot – floor.

Lighting plot – trusses.

Lighting plot – pods.

Video control diagram.



Epic investment in Allen & Heath dLive and SQ mixers

Top-tier TV production company and music venue, Epic Studios go big in quarter-million pound investment.
Epic studios’ clientele has included shows such as ‘Top Gear’ and ‘WWE Wrestling’ – has embarked on a major audio upgrade of its Norwich, UK premises, with Allen & Heath dLive and SQ mixing systems.

‘Blind Tiger’ Music Video / Installation of MLA Sound System, featuring dLive at FOH. Filmed at Epic Studios.

“I’d been hearing many positive comments about the dLive and SQ series on social media and after seeing them in use on major world tours and appearing on technical riders, I was very keen to try one out,” comments Matt Rabong (technical manager at Epic Studios).
“I used to work exclusively on another desk, however after getting my hands on a dLive S7000 at InfoComm, I knew this was the perfect desk for us. dLive has integrated seamlessly with our workflow and my engineers love it! It was extremely easy to train everybody on its features.”

Fully customisable facility

As well as Epic’s TV productions, the facility is fully customisable and caters for a variety of productions and events. These range from television programmes and game shows to sporting events, corporate events, arena gigs (with artists such as Chase & Status and Newton Faulkner) and even private functions and intimate shows.

‘Blind Tiger’ Music Video / Installation of MLA Sound System, featuring dLive and SQ. Filmed at Epic Studios.

The installation also features a large investment in Martin Audio’s flagship MLA PA system, which integrates seamlessly with dLive. One of Epic Studios’ sound engineers, David Wallace, comments, “The MLA integration with dLive is great and the MADI and Dante connectivity are perfect for our demanding broadcast requirements.”

Rabong continues, “The sound quality in dLive is superb and it gives us incredible fidelity through our new MLA compact rig. We invested in a full suite of gigaACE, MADI and Dante cards for the DM48 MixRack to enable us to have digital splits to broadcast in our full HD production gallery, as well as 48-way multitrack recording directly to a laptop at FOH and audio distribution to other parts of the building using Dante.
The quality of the onboard FX is amazing and having up to 64 multiband compressors across any channel type is very useful.”

Wallace adds, “Whilst researching desk options, dLive seemed to be the best in terms of high-quality audio, functionality and ease of use. The live experience is a dream to work with – it’s powerful and flexible but also robust and reliable.”

SQ-7 as monitor desk

‘Blind Tiger’ Music Video / Installation of MLA Sound System, featuring SQ-7 on Mons . Filmed at Epic Studios.

With dLive being used as Epic Studios’ FOH desk, the team further invested in an SQ-7, used primarily as their main monitor desk. Rabong adds, “The SQ-7 broadens our flexibility in the studio and allows us to run a dedicated monitor desk – with a digital split from the gigaACE card in our DM48 MixRack or an analogue split available in house – or even as a standalone broadcast desk, multitrack recording direct from its built-in USB out.

If we have a smaller event or need to fit into a tighter space, we can also use the SQ-7 as a FOH mixer. The software is also really intuitive and it’s been very easy for my technical staff to get to grips with.”
Rabong concludes, “Investing in Allen & Heath has given us a great deal more flexibility as a venue overnight and has increased our audio quality for our audiences in a big way.”

More information on Allen & Heath dLive consoles, SQ consoles, and Martin Audio’s MLA PA system.


Top brands and programme highlights at Prolight + Sound and Musikmesse 2019

The whole world of entertainment technology and music business is coming together at Prolight+ Sound and Musikmesse in Frankfurt am Main from 2 to 5 April 2019.
Prolight+Sound 2019 will offer all visitors, either confirmed pros or newcomers to the sector, from the professional audio sector in particular, a variety of new highlights and product innovations from the industry’s key players.Read full list here.

For the first time since 2015, the two trade fairs are being held concurrently on all four days (Tuesday til Friday), to enhance the professional aspect of this event.

The two exhibitions will reinforce their synergies and reflect in an even more efficient way the demands and needs of the visitors and the worldwide market.

In 2018, Prolight+Sound and Musikmesse have once again registered a raise in the number of attendees from 152 countries.

Un nouveau Hall pour Prolight+Sound : les avantages

This year a new hall is being part of the general halls’ layout, including the Hall 12, used for the first time for this event. Brand new jewel of this architectural ensemble, it is the largest and more modern building in the whole Frankfurt Fair and Exhibition Centre, with 33,600 sq. meters of brut surface offering first class surroundings for the presentation of highlights and product innovations from the industry’s key players in Pro audio, stage lighting and techniques, and entertainment tools in general.

Moreover, Hall 12 will complete the way the halls are linked together, allowing an easy access to Hall 8, dedicated to Pro audio, with only 130 meters walking distance. With this revised hall layout, Messe Frankfurt has responded to an important demand of exhibitors and visitors by locating the entire ‘Audio, Sound + Recording’ product segment in Hall 8.0, at ground level.

Previously, companies from this segment were to be found in different halls. Now, key players, including are concentrated together under the same roof.

Short walking distances between halls.

The Media technologies and LED sectors do keep their traditional space in Hall 4.0, with the addition of a dedicated space for projection and events security. Being the most central hall in the Exhibition Centre, it’s very close to the “Torhaus” entrance.
It is very close as well to the “Networking Area” situated in Hall 4.1, the new Business meeting point of the exhibition. It’s an elaborated meeting lounge, with conferences rooms and catering zones, hence offering excellent conditions for very professional discussions.

Knowing what is making the industry move

The needs related to modern productions are constantly growing and, as such, the requests to the professionals are more and more demanding. The Prolight+Sound seminars will offer precious information from industry experts.

New at Prolight+Sound 2019, CAVIS – Congress for Audio Visual Integrated Systems’ seminars. They will focus on the growing market of permanent installations, giving Prolight + Sound exhibitors a chance to present relevant products and projects.
Companies like ARRI, Audinate, ETC, Holoplot, Lightact and Meyer Sound have already confirmed their active participation.

From the triumph of IP-based transmission, via virtualised playout, to UHD streaming: new technological solutions are changing the sector at a rapid pace. The new Broadcast + Production Forum at Prolight + Sound, held on April 5th, provides a platform for these and other innovations and creates a contact point between companies, decision makers and users.
Manufacturers of products such as cameras, radio links, streaming encoders, picture mixers, broadcast panels and specialised audio applications have the chance to present their solutions in 45-minute lectures.

©Jean-Luc Valentin

Advanced Audio + Application Exchange (3AE), following last year’s successful première, is once again organising The Future of Audio + Music Technology programme on April 4th.

This event covers subjects that are set to have a decisive impact on the future of the music and event industry – from the use of mobile apps in studio and live settings, via blockchain technologies, to cloud-based DAWs.

The Immersive Technology Forum is held once again, and even extended to the whole four days. This new lecture programme gives you the opportunity to discover how to upgrade events through the inclusion of immersive experiences, how to earn money now and in the future with virtual-reality content, and where appropriate solutions can be used in 360° productions, with the help from Holoplot, L-Acoustics, Out Board, ShowTex and Visoso, amongst others.

©Robin Kirchner

For the first time, Prolight + Sound is cooperating with the organisers of the Sample Music Festival with top brands, such as Akai, Denon DJ, RANE, Ortofon and Mixars, making presentations on a special area of the foyer of Hall 4.0. Other companies, such as Ableton and Native Instruments are showing their new products within the framework of workshops and product demonstrations.
Well-known artists from the world of DJing, controllerism and turntablism, such as Beat Matazz, Clockwerk and S-Trix, will give visitors the chance to look over their shoulder at workshops and showcase. The official main sponsor of the ‘Sample Music Festival Area’ is Schenker Technologies.

With the Audio Makers Square, Prolight + Sound and Musikmesse are establishing a special area for the international DIY community. There, visitors will find everything for building audio equipment themselves and can take part in audio-builder workshops. The area is being organised by MakeProAudio GmbH and other partners.

Another première is the collaboration with the organisers of the Music Tech Fest. The programme includes an ‘Innovation Masterclass’ with award-winning composer Reeps One and the ‘MTF Labs’ where innovation leaders in the field of music production pass on their knowledge.

Rounding off the programme is a 24-hour ‘Trackathon’ at which up-and-coming young people produce and perform songs.
The ‘Trackathon’ is hosted by composer, producer and multi-instrumentalist Martine-Nicole Rojina.

Prolight + Sound and VPLT will present the new format of the International Event Safety + Security Conference I-ESC on Wednesday, 3 April in Hall 4.0 at the circle stage.

International experts on event safety and security will discuss some of the topics currently confronting the event and live performance industry.
The new format includes plenty of opportunities for discussion and networking and presents three major topics in presentational form, three panels providing international insight and discussion, and satellite presentations that will contribute to your knowledge and expertise.
The keynote will be held by Dr. Donald Cooper from the Event Safety Alliance. The entire conference will be held in English and simultaneously translated into German.

Major highlight of this exhibition will be the Prolight+Sound Conferences (du 2 au 5 avril) with major industry topics, such as: education and training, normalisation and legals duties, and innovative of of technology, for Live productions, and installations as well.
Representatives and specialists from companies and associations such as Gerriets, Neumann & Müller, Showtex, I.T. University of Copenhagen, the German Entertainment Technologies Association (VPLT) and the European Event Centers Association (EVVC) will be present amongst the speakers.

Back to the Future (or the other way around)

A world première for visitors to Prolight + Sound and Musikmesse is the Vintage Concert Audio Show with milestones of concert PA systems from four decades.
Over 200 exhibits on a special area in Forum.0 will show what PA systems from the sixties, seventies, eighties and nineties looked and sounded like. Bikers welcome (just joking).
Many of the vintage systems will be shown in action: on all days of the event, there will be a decade-linked audio panel discussion at which sound-engineers from that period explain the equipment used at that time and answer visitors’ questions.

They include ex-Prince studio engineer Hans-Martin Buff, Jon Caffery (Joy Division, Sex Pistols) and Michael Baur (Rammstein), and many more. Full program here.

More information on the Messe Frankfurt Website.


The Heart of Manchester pounding with Astera AX1 PixelTubes

28 x Astera AX1 PixelTubes – battery powered wirelessly operated fully controllable LED RGBW batons – were used by Alex Webb from Allied London to create ‘The Heart of Manchester’, a 20-metre high heart shaped light sculpture on the Quay Street façade of the No. 1 Spinningfields building in central Manchester.

Alex is a brand manager for Allied London, the property developer at the centre of evolving this vibrant area of the city, which has become a leading business destination, legal quarter and a thriving living and working community as well as a place for socialising and entertainment.
In celebration of Valentine’s Day, Spinningfields commissioned various public art displays around town to explore love and heartbreak in the city, a project that also included offering this as their own creative contribution for public enjoyment and Instagram hotspots!

Inspired and tasked to find new, fresh and invigorating ways of getting people to engage with their environment and appreciate the striking modernist urban backdrop of Spinningfields, Alex is constantly seeking to drive footfall to and spark interest in the area’s cafes, bars, restaurants and other facilities.

Pulsating heart in celebration of Valentine’s Day

The pulsing Astera AX1 heart is visible across the evening skyline and from key vantage points like the Deansgate-Castlefield Metrolink station and as far away as Old Trafford.
It was an instant Valentine’s Day hit on social media with people flocking for selfies with it in the background… so much so that the installation has been extended and will run for the remainder of February.

The Astera AX1 PixelTube. “Look, no wire!”

Alex organises many different events and activations, and he first saw Astera products, including the PixelTubes, at the PLASA lighting and sound show in 2017. They were demonstrated on the booth of exclusive UK distributor and London based Ambersphere Solutions.

The tubes weigh only 1kg each, and Alex found some industrial strength suction pads which he used to fix them to the inside of the windows along floors 12 to 17 of the building.

Black cloth is used as a mask behind the lights and the heart measures approximately 20 metres top to bottom, with its lowest point around 40 metres up the building. The AX1s were programmed by Pete Deacon productions and Alex Webb – using the Astera App – to pulse through a series of various full colours and hues, from rich sumptuous red to hot steamy purple!

The AsteraApp, for long distance and easy control of any original lighting installation like this Manchester example.

Astera BlueBox ART7, the bridge between a tablet or smartphone and any Astera AX lighting fixture.

The original idea was that the tubes could be removed and charged up during the day and then clipped into place ready for the evening’s lighting display… but with mains power available and the fact they can also run as wired fixtures, they are going for 24 hours! With the black cloth masking behind the luminaires and the brightness of the output, they can be clearly seen in daylight as well.

Multiple events scenarios

He thought they would be perfect for multiple event scenarios, and purchased 40, which were also used in ‘The Shape of Light V1’ a work by Alex Webb for the 2018 Leeds Light Night festival, which involved four different shaped geometric metal stages, illuminated internally with the tubes on a slow pulse chase.

For Valentine’s Day 2018 Alex and his team helped realise the original ‘Heart of Manchester’ illuminated sculpture by artist Stuart Langley, which was displayed on the same building and involved a cloth drop that was lit.
This year Alex revisited that initial ‘Heart of Manchester’ concept, this time using the AX1 tubes and lighting technology in a different and more elaborately way.

Local lighting landmark

He is also using the AX1s for another installation on Hardman Square, which is a striking 2-metre-high heart shaped floral arrangement of cineraria eucalyptus, asparagus fern and salal, created by local florists at David Wayman Flowers, who are located in Spinningfields.

This sits in a specially fabricated metal structure that helps keep it upright.
The AX1s are charged up during the day and set up at dusk, are cable-tied to the insides of the metal legs, bathing the piece in reds and pinks to draw attention and accentuate its texture and subtleties.

Shape of Light V2 has been in place for around three months now and has become a local landmark and generated a lot of public interaction.
People and tourists have been experimental in unclipping and moving the tubes around to get better and different photos and more light on themselves, etc., whilst composing their images! In all that time, none of the tubes have been stolen!

More information on Astera Led wireless lighting products.


Dali cyclorama investment for London’s National Theatre

The National Theatre, situated on London’s South Bank, has been a revered national institution for over fifty years. Its three theatres, the 1110-seat Olivier, the 890-seat Lyttelton and the 400-seat Dorfman, play host to a wide range of theatre performances from bold new work to re-imagined modern classics.
They’ve chosen more than 50 Robert Juliat Dali battens for cyclorama lighting.

Robert Juliat Dalis are used in architectural fashion by LD Bradley King on Anaïs Mitchell’s musical Hadestown which plays in the Olivier Theatre until the end of January. © Helen Maybanks.

The NT technical department have the responsibility to provide the best quality equipment in order to maintain the highest standards for all productions.

Robert Juliat is therefore very proud that the lighting department has invested in yet more Robert Juliat lighting equipment over the last 12 months to add to its already large inventory of RJ fixtures.

Over 300 Robert Juliat fixtures

The National Theatre lighting team with their new Robert Juliat Dalis and Cin’k fixtures. Left to right: Paul Hornsby, Lighting Resources Manager, Matt Drury, Head of Lighting and Laurie Clayton, Lyttelton Lighting Supervisor. © Julie Harper

“We have over 300 Robert Juliat 60ma0 Series 1kW and 700 Series 2.5kW profile fixtures, mostly used as generic lighting in the Olivier and Lyttelton theatres where they are rigged on the front of house bridges,” says lighting resources manager, Paul Hornsby.
“The latter are especially suitable for the long throws in the Olivier and Lyttelton where they give that punchy 2.5k look that everyone wants and which has yet to be achieved by any LED equivalent.”

2018 saw Paul Hornsby’s department make a sizeable investment in 54 award-winning Dalis 860 300W LED cyclorama battens.
“Our aim was to be able to light a full wrap-around cyclorama in the Olivier, which we are able to do beautifully using 48 Dalis units (24 each on top and bottom).
The cyclorama for Common, for example, measures 8m high by 21.5m wide – so you can see the size of the space they have to cover!

“We chose Dalis because we were looking for an LED solution to replace our old tungsten cyclorama lights. We compared various products and felt that in terms of size, coverage and output, Dalis was the best on the market.

Look and feel of a traditional cyc batten

Robert Juliat Dalis illuminate the backwall for David Hare’s production of I’m Not Running in the Lyttelton Theatre © Neill Pollard, Lyttelton Lighting.

“Dalis also has the advantage that it feels and looks like a traditional cyc batten. They are compact and bright so give us the throw we need for the venue, but can also be put much closer to the cyclorama cloth than other units, because they require much less space. It is a very versatile unit.”

This was not the first time Dalis 860 has appeared on stage at the National Theatre. Summer 2017 saw award-winning lighting designer, Paule Constable, employ a whole top run of Dalis 860 to great effect on the production of DC Moore’s Common.

“It’s great to have a very nice, flexible colour-change solution with very minimal power consumption,” confirms Hornsby. “On full output, using four coloured cells, we use only 10% of the energy that our old 500W and 1kW tungsten cyclight fixtures used, not to mention a considerable saving in gel – some shades of blue would only last for one performance!
We’ve never had any complaints about the colour choices or absence of a tungsten source either – designers can find all the colours they need and the coverage is extremely nice and even.”

The Dalis fixtures are currently in use on productions in both the Lyttelton and the Olivier theatres. The Lyttelton sees lighting designer Jon Clark employing 20 units, in two rows of ten, for David Hare’s production, I’m Not Running, not as cyclorama lighting but for flood coverage on the 10m back wall of the set.

Even cover at low levels

“Jon wanted an even cover at a low light level, and to be able to mix the colour to suit the set designer’s wishes,” says Lyttelton Lighting Supervisor, Laurie Clayton. “He was able to achieve this perfectly with the Dalis units, which he had previously used on the production of Absolute Hell to light up the structure of the Lyttelton stage.”

Robert Juliat Dalis are used in architectural fashion by LD Bradley King on Anaïs Mitchell’s musical Hadestown which plays in the Olivier Theatre until the end of January. © Helen Maybanks.

Prior to its Broadway run, Anaïs Mitchell’s musical Hadestown, is now playing in repertoire at the Olivier where LD Bradley King is using 12 Dalis 860 fixtures in an architectural fashion to uplight the back wall of the set in different colours.
“The Dalis proved to be very bright and work very well, even though they are very close to the wall of the set,” confirms Hornsby.

It is not just the visiting lighting designers who have been happy with the RJ Dalis fixtures. “All of our technicians here love Dalis,” says Hornsby, “which are very robust with a good build- quality and have so far been problem free.”

Joining Dalis in the Olivier are three new RJ Cyrano 2.5kW HMI followspots which are now permanent fixtures in the followspot box at the back of the auditorium. “We needed to replace our old followspots with something good, reliable and bright that could cover big musical productions, like Follies, in the Olivier,” says Hornsby.
“We chose Robert Juliat because they make excellent followspots. They are well known, which means the operators know how to use them, and they are easily available to hire should we need any more.”

No LED equivalent for tungsten 5kW… yet

Last but not least, the National Theatre also purchased sixteen new RJ Cin’k 350LF 5kW tungsten Fresnels for the Lyttelton Theatre’s basic rig where they will operate in overhead positions.
“There is still no LED equivalent to a tungsten 5kW fixture and the 5kW tungsten Cin’k is in great demand by lighting designers because our venues are so big, “ says Hornsby, “so we are reliant on their bright sources.”

The Cin’k 350LF Fresnels supplement 16 RJ Cin’k 325LF already owned by the National Theatre in the resources hire stock, alongside 30 RJ Lutin 306 1kW units.
“The little Lutins are used a lot in our new Dorfman Theatre, hired from the resources stock to supplement the basic rig,” concludes Hornsby. “They are ideal for fitting into the smaller space of the Dorfman.”

I’m Not Running and Hadestown run at the Lyttelton and Olivier theatres respectively until the end of January 2019.

More information on Robert Juliat’s full portfolio of LED, tungsten and discharge lighting fixtures.


DPA Microphones to prove Small is Beautiful at Prolight + Sound 2019

DPA (Danish Pro Audio) will be using their booth at forthcoming Prolight + Sound 2019 exhibition as a platform to show artists and performers its new and unobtrusive d:fine™ CORE 6066 Subminiature Headset Microphone. Small is Beautiful indeed!
This model is claimed as being the ultimate in wearable tech and the perfect solution for anyone who wants freedom of movement on stage.

Forming part of its recently introduced 6000 Series of tiny, high-end pro audio microphone capsules, the d:fine CORE 6066 is an attractive headset that is very comfortable to wear and so easy to fit that even the most inexperienced artist or performer can mount it themselves.
With DPA’s famous sound quality guaranteed, this one size fits all headset is also very secure thanks to a clever three point spring mechanism that helps it grip below and over the ears as well as behind the ear. With a fully adjustable boom and a redesigned cable attachment that allows the cable to run down the wearer’s back, it is particularly useful for performers who want to incorporate rigorous dance routines into their set.

60% smaller but as powerful as the 4000 series

Since its launch, DPA’s new 6000 Series has continually astonished end users because it is so small and so nice sounding.

Measuring just three millimetres (0.12 inches) in diameter, 6000 series capsules are 60% smaller than the company’s existing 4000 series, but equally as powerful because they all incorporate CORE by DPA microphone amplification technology that reduces distortion and increases dynamic range.
The 6000 Series also includes the d:screet™ CORE 6060 and CORE 6061 Subminiature Microphones that can be fitted to clothes in the form of a virtually invisible lavalier.

DPA will also be showing on their Prolight & Sound booth other microphones that incorporate its ‘CORE by DPA’ amplifier technology. These include its 4000 Series of d:screet™ miniature lavalier, d:fine™ headset and now d:vote 4099 Instrument Microphones – one of the most natural-sounding instrument microphone solutions available today and seen as the preferred close-miking instrument mic on the market.

d:vote 4099 for instrument use

Designed for use with every woodwind and acoustical instrument, the most popular being guitar, violin, cello and trumpet/saxophone, the award winning d:vote 4099 is known for its discreet size.
Its versatile mounting/clip options make it useful in a wide range of applications, from studio and theatre to live performance and broadcast.

The new version also has a more streamlined design that features a foam cover to help decrease vulnerability to wind or movement during a performance.

Top vocal mic for top artists

DPA will complete is Prolight + Sound line up with its hugely popular and award-winning d:facto™ Vocal Microphone range, which includes an extremely linear version for sound engineers who want to design the complete sound pattern and create their own unique sound.

Already the vocal microphone of choice for artists such as Sting, Stevie Wonder, Bruno Mars and Ellie Goulding, the d:facto™ Vocal Microphone combines the very best of cardioid and supercardioid directional characteristics to ensure minimum bleed, high spl before feedback and an exceptionally natural sound.

Using DPA’s flexible adapter system, the microphone can be transformed from a wired version with a handle to a handheld wireless microphone seamlessly integrating with all leading wireless solutions such as Sennheiser, Shure, Sony, Wisycom, Lectrosonics and Line6.

The entire range will be on show at booth 8:J80, which DPA is sharing with its new parent company RCF. More information on DPA microphones website.


Elation Rayzor 760™ cuts through the lighting rig at Super Bowl LIII Halftime Show

Los Angeles-based Elation Professional’s home team Rams might not have come out victorious in Super Bowl LIII but the company was a winner nonetheless as its new Rayzor 760™ LED wash/beam light played an integral role on the American football championship’s celebrated halftime show.

Held February 3rd at Mercedes-Benz Stadium in Atlanta and broadcast live on CBS, the Pepsi Super Bowl Halftime Show featured a headline performance by Maroon 5, along with rappers Travis Scott and Big Boi.
Production design was by Bruce Rodgers of Tribe Inc. with lighting design by Bob Barnhart of 22 Degrees for what is the most-watched musical event of the year in the U.S.

The Super Bowl Halftime Show marked the live show debut of Elation’s Rayzor 760, a unique LED luminaire with 7 x 60W RGBW LEDs, 5 to 77-degree zoom, continuous pan and tilt, and new SparkLED™ technology.
Barnhart, who has lit over 20 Super Bowl Halftime Shows and says he was happy to audition the fixture, positioned 45 Rayzor 760s in an impressive 60-yard row behind the large M stage at field level.

“When we layout a Super Bowl Halftime light plot we look for different layers that give us effect, scale and diversity,” Bob Barnhart stated. “When Eric Loader showed me the new Rayzor 760, I immediately told him I had a place for them on the Super Bowl.”

Barnhart placed the Rayzor 760s on a field truss all the way upstage, close to the first row of seats. “I wanted to use the 760 to color the air in the background, which becomes a nice layer to offset the beams in the foreground,” the designer explained.
“We also used the continuous pan and tilt to give a different tool for tempo and scale. The quickness of the LED engine also allowed us to dual purpose the fixture as a strobe.”

Although the designer did not get the chance to feature the fixture’s patent-pending SparkLED™ effect – white LEDs placed inside the fixture’s seven oversized lenses that create a unique sparkle effect – he anticipates employing it in the future.
“I think the venue was too large to properly show off the SparkLED,” he says, “but we played with it. I look forward to having that option on other shows where it can really shine.”

The Rayzor 760s produce a well-defined mid-air beam or can spread exceptionally wide for an even wash coverage and performed very well during the 12-minute musical halftime performance, holding their own against the 100s of other higher power lights around them.
“The fixtures performed really well and not one needed attention from the crew,” Barnhart says. The Rayzor fixtures were supplied for the Super Bowl Halftime Show by PRG.

Other Elation lighting fixtures were used elsewhere in the stadium, namely the company’s new feature-rich Artiste Picasso™ LED profile moving head, employed as front key lights on the CBS Sports stadium broadcast studio, and the Colour 5 Profile™ LED ellipsoidal spot, which was used on the field set.

Leading up to the Super Bowl, Elation products were spotted all around Atlanta, supporting the numerous events surrounding the game.

Production Designer: Bruce Rodgers, Tribe Inc.
Lighting Designer: Bob Barnhart, 22 Degrees
Lighting Equipment Supplier: PRG
Lighting Directors: David Grill, Pete Radice, and Jason Rudolph
Director: Hamish Hamilton
Executive Producer: Ricky Kirshner

More information on Elation Lighting Rayzor, and Artiste Picasso, and Colour 5 Profile.


Ministry Of Sound Annual Classical Tour remixed with DiGiCo SD7

Ministry Of Sound’s [MoS] orchestral tour, The Annual Classical, reimagines legendary Sony Music compilation, The Annual, the best-selling dance compilation of all time, as a ground-breaking live production.
At the helm of the complex live mix is sound designer, Phil Wright, mixing on a DiGiCo SD7 supplied by RG Jones, and delivering huge sounds as much-loved chart toppers receive a classical reworking.

Ready for the show.

“In the last couple of years, we’ve seen all kinds of classical dance music shows take to the stage, but the design brief from MoS was to make this a genuinely live performance, meaning no playback!” says Phil Wright.

With the brief in place, a collaboration between Coalition Agency and Raymond Gubby Ltd, which runs the 55-piece London Concert Orchestra, began with British composer Tom Player tasked with producing arrangements for the orchestra.
Amongst the hits are The Chemical Brothers’ Hey Boy Hey Girl; Insomniaby Faithless and Moloko’s Sing It Back. The large-scale orchestral production called for Phil’s long-trusted mixing companion.

Only four busses and two channels not in use

Phil Wright.

“It was always going to be me and a DiGiCo console,” he says. “I thought about an SD10, but it became obvious that I needed a bigger desk and therefore I decided on an SD7. It’s been the perfect choice and even on a console with the huge capacity of the SD7, I had only four busses and two channels not in use!”
The Annual Classical is no ordinary show, as Phil explains: “On stage, we have 55 people plus backing vocalists, guest singers and extensive effects. I’m running 12 FX racks in my SD7 and another 6 in Waves externally with my own DiGiGrid rig. It turned out to be the ideal way.”

Phil has two SD-Racks on stage, taking inputs and sending outputs to a pair of Martin Audio DD6s.
A total of 17 performers use personal mixers.

MADI stream out of the SD7 to the personal monitoring set ups

Annual Classical in action.

“With the compatibility, I could drive a MADI stream out of the SD7 to the personal monitoring set ups,” Phil continues.
“I was sending 40 channels to the personal mixers, and using 16 sub groups, which was driving a very high Aux count for this show.”

The SD7 also ensured a smooth production filtered through to other departments.
“It’s been a very close collaboration between Tom and I, and it quickly became obvious that we’d needed a click track – both for people to listen to and as a visual reference,” notes Phil. “Some of the pieces were 20 minutes long and featured a mix of five or six tracks, so it’s easy to get lost without it.

“I worked with Tom to construct a visual click system for the show which works off my dual redundant system. The musicians received an audible click and visual reference, which I could output to the lighting and sound console. While some cues are manual, the SD7 can do some of this itself based on the timeline, which was particularly useful to our lighting department.”

Additional benefits

FOH position.

The SD7 provided additional benefits, explains Phil: “With running the show from a click track system with SMPTE, I’ve been able to snapshot every music number and subdivide some of them.
This way I can put FX on the instruments. I utilised the screen in the SD7 with a copy of the visual click system so I could easily follow the progress.”
Full rehearsals took place at the new Music Bank facility and the tour premiered at London’s Royal Festival Hall in late-January.

“It was phenomenal,” says Phil. “There’s a 10-minute film introduction to the event which explains the history of the MoS club, and the history of devising The Annual Classical. As it ends, the conductor hits ‘go’ and from the first beat, the audience stood up and never sat down again! I’ve never seen a reaction like it!”

Following its stellar debut in London, the Annual Classical tour will continue throughout the UK from May-June.

Legendary Ministry Of Sound logo. Remember when they projected it on Buckingham Palace frontage?

For more information on DiGiCo SD7, Phil Wright Sound, Ministry Of Sound Annual Classical.


Brompton Technology TESSERA training sessions: the show does go on

Due to massive success, Brompton Technology’s recently initiated training programme is adding new dates (see below), for anyone interested in learning more about the extensive capabilities of the company’s TESSERA LED processing for its T1, S4, M2 and SX40 LED processors and the XD data distribution units. Free to technicians working in the LED screen sector, they are already proving highly popular.

Held at Brompton’s HQ in Ealing, London, the sessions take attendees through the fundamentals of operating its state-of-the-art LED processors, familiarising them with the easy-to-use interface and giving them hands on experience with handy features such as ChromaTune colour correction, On Screen Colour Adjustment (OSCA), Dark Magic for colour smoothing in low brightness conditions, Fixture Processing and Genlock.

Attendees will also get first-hand experience of the new Tessera Processor Software 2.2.0 for the 4K SX40 processor which delivers an enhanced feature set, including:

  • Panel On Screen Display (OSD),
  • Processor Redundancy,
  • 90 degree rotation,
  • and Chinese language support in the user interface.

The next series of sessions will take place during March and the following months. Stay tuned:

Wednesday 20th March 2019
Thursday 21st March 2019
Friday 22nd March (new date added, 4 places remaining)

Wednesday 17th April
Thursday 18th April

Wednesday 22nd May
Thursday 23rd May

Wednesday 19th June
Thursday 20th June

Wednesday 17th July
Thursday 18th July

For more information, or to book your place on these sessions, and also express interest in sessions in other areas of the world, sand an e-mail to


PRG K.K appointed new exclusive Ayrton distributor for Japan

Ayrton announces the appointment of PRG K.K. as its new exclusive distributor for Japan. Ayrton’s full range of products, including its new powerful, compact, lightweight LED profiles and wash lights, will be promoted and supported on a day-to-day basis by PRG K.K.’s dedicated technical sales team, a team which has earned the reputation for the highest standard in customer service.

Part of the PRG K.K.’s technical sales team.

Established in 1984, PRG K.K., a subsidiary of Production Resource Group, L.L.C., is a leading production service provider for the entertainment industry with a remit that covers a wide variety of markets including concert tours, theatre, television stations, theme parks, commercial facilities and schools.
Its customer base that encompasses agencies, event organizers, designers, promoters, television and theatre producers. Since PRG K.K.’s distribution division opened in 2001, the team has engaged in sales promotion for some reputable moving lights brands, now turning attention towards Ayrton.

John R. Swain, PRG’s CEO of Asia and Australia.

“PRG is very excited to be a part of this next level in our relationship with Ayrton,” says John Swain, PRG’s CEO of Asia and Australia. “We recognized the innovative solutions that Ayrton lighting products offer clients across a broad range of professional environments.
The ingenuity of Ayrton’s product solutions is ideally suited to PRG K.K.’s client base in Japan.”

“We chose to become an Ayrton distributor because their renewed focus on an innovative, lightweight and quality product line is an excellent fit for the Japanese marketplace,” says Yuji Tanaka from PRG K.K.

“We believe the new Ayrton product range offers unique advantages in terms of their high output, full set of features, and remarkably compact, light-weight housings.

Jerad Garza, international sales for Ayrton.

International sales for Ayrton, Jerad Garza, comments: “We are delighted to welcome PRG K.K. as our new partner in Japan.
Their energy and approach to the market combined with their customer focus and Ayrton’s philosophy of ‘Smaller, Lighter and Brighter’ is a great fit, and we cannot wait to see positive things happening.”

“Ayrton already has a well-established reputation for its effects lighting fixtures, concludes Yuji Tanaka. We aim to develop that perception further in the Japanese market so the Ayrton brand becomes synonymous with high quality, high performance moving lights.

New fixtures such as Ghibli, Khamsin, Bora, Mistral, and now Diablo and Levante, will be readily available and fully supported for our customers.”

More information on PRG K.K. and Ayrton products.