Three LED fixtures join the Cameo catalog, the Evos W7IP wash, the Spot Azor S2, and the Profile Opus SP5+, and two static/traditional fixtures: the S2IP softlight panel and a Pixbar G2 bar presented here on video by Fabrice Dayan, product manager for France.
The W7IP, moving head wash IP65. The areas above the axes of the yoke incorporate two strong handles.
Evos W7IP
The Evos W7IP is an IP65 version of the W7, a moving head wash with 19×40 W RGBW matrixable LEDs and offering a variable zoom from 4.5° to 34°. The look of the device does not go unnoticed with its two imposing yoke “arms” which incorporate solid handles dedicated to the handling of the 25 kg fixture.
Azor S2
Another novelty in the moving head category, the Azor S2, a 300 W led moving head spot, develops 13,000 lumens at 6800K and offers 2 gobo wheels, one of which is rotating, CMY trichromacy assisted by its color wheel, a large zoom of 5 to 50°, iris, frost, focus, prisms, LED frequency variation, W-DMX control, etc. A very versatile compact fixture with a weight of less than 20 kg.
Opus SP5+
To close the new chapter in the moving light division, we discover the Opus SP5+, a variation of the SP5 still in the catalog but “which lights up more” hence its name. The reworked LED engine still displays the same power of 500 W but in this case, develops 22,000 lumens against 15,000 for the classic version. The other functions as well as the dimensions of the device remain identical between the two models.
Moving head spots with the Azor S2 (300 W) on the left and the Opus SP5+ profile-type machine at 22,000 lumens on the right.
The S2IP, “softlight panel” is based on the S4 and is of course IP65.
S2IP LED panel
Another traditional/static fixture, the LED panel S2IP, for the outdoors, has the same characteristics as the S4IP but is half the size.
This “softlight panel” has 272 SMD RGBWW leds grouped in blocks of four and offers a variable white between 1800 and 10000 K, a CRI of 95, and a TLCI of 91 as well as multiple control solutions (DMX/RDM, ArtNet, W-DMX and, sACN) all in an IP65 housing.
Rear view of the X3, the “D” version (6800 K white), with a view of its output in the background.
Série X3
Alongside are two fixtures in a “PAR LED” format which, although a bit different in shape, are dedicated to exhibition lighting that could be described as “powerful” (21,000 lumens), they form a new series named X3. The D version generates a white at 6800 K thanks to its 31 LEDs of 15 W, the X3 TW offers a variable white between 3200 and 6800 K.
Pixbar IP G2
In terms of LED bars, the Pixbar IP G2 has 16 sources based on RGBW LEDs for the Pixbar 400 IP G2 and RGBWA-UV LEDs in the Pixbar 600 IP G2, of course, IP65. They have many accessories and filters to modulate the beam or offer different solutions for connecting bars and rigging to structures or floor mounts.
Chauvet is continuing to develop its IP range, which now welcomes two new members: a Maverick Storm 3 BeamWash equipped with two independent zooms and a Colorado PXL Curve bar of independent moving pixels presented here by David Launay, Product Specialist for Chauvet Professional.
Colorado PXL Curve 12
Having a place of choice on the Chauvet stand, the Colorado PXL Curve 12 is a motorized LED bar offering 12 sources of 45 watts that are completely independent of each other.
Le nouveau Colorado PXL Curve 12. On distingue le module de zoom indépendant pour chaque source.
Each of the modules is equipped with an RGBW LED, a variable zoom between 5.7 and 36.3° as well as a motorized TILT axis of 200°. The fixture offers several control modes, from the most simplified with its many macros (20 channels) to the most extensive for pixel mapping and its 179 parameters, accessible in DMX/RDM, ArtNet, sACN, or even Kling-Net.
L’une des nombreuses combinaisons de TILT que nous pouvons imaginer avec ce nouveau projecteur.
The fixture’s overall housing (which, by the way, displays 34.5 kg on the scales) has been developed so as not to have any gaps between the “pixels” if several units are grouped together.
Maverick Storm 3 BeamWash
Nouveauté au catalogue Chauvet avec ce Maverick Storm3 BeamWash et ses deux zooms indépendants.
The Maverick Storm 3 BeamWash is an IP65 moving head weighing 37 kg integrating a total of 28 pixels of 45 W RGBW LEDs, with individual led control. The innovation of this product lies in its two completely independent zoom modules, each housing part of the LEDs.
The first zone located in the center of the head is made up of 12 of the 28 LEDs, the others take place around the perimeter, thus creating the second zoom zone. Let’s talk about the zooms. Their ranges are from 4.6 and 53.6° to obtain effects such as percussive beams or very wide washes. All the leds output a consistent flux of more than 19,000 lumens.
The fixture has many macros allowing you if needed, to free up some room in the patch from all the control channels, accessible in DMX + ArtNet + sACN.
Robert Juliat is proud to announce the arrival of its first Arthur LT followspots in South Korea. Five of the 800W LED Long-Throw followspots were installed at the Seoul Broadcasting System Open Hall studios in Deungchon-dong, South Korea by RJ’s exclusive distributor for the region, C&C Lightway.
Established in 1990, SBS is the largest private broadcaster in South Korea, with a nationwide network of 10 regional stations, and three radio networks. SBS Deungchon-dong Open Hall is one of the region’s main production venues hosting a broad programme of entertainment and variety shows.
The Arthur LT 800W LED followspots were installed in a bespoke followspot box located at a distance of approximately 20m from the production floor. They will primarily be used on SBS’s flagship K-pop program, SBS Inkigayo (The Music Trend), in addition to all other programmes requiring similar key lighting capabilities.
“The Arthur LT LED followspot is highly regarded and recommended for use on all kinds of programmes, including SBS Inkigayo,” says Seung-Hoon Chun, who has been Lighting Director and Lighting Designer at SBS since 2013. “The decisive reason for choosing the Robert Juliat Arthur LT is primarily due to its suitability for the SBS broadcasting environment, but also to the lack of comparable competing products from other companies.” Seung-Hoon Chun praised the CRI value of the Arthur LT which he said was very satisfactory, and found its DMX control capabilities extremely useful in the television environment: “The control through DMX allows for the utilisation of many features that were not achievable with traditional Xenon lamp followspots, resulting in enhanced convenience and usability,” he says. “DMX allows for accurate ON/OFF control, providing fine-grained control over individual lighting fixtures. By utilizing DMX protocol, it becomes possible to send specific commands to each followspot or channel, enabling precise control over their states.”
Arthur LT is a long throw model of Robert Juliat’s original Arthur followspot, developed to match the output of a 2500W HMI source. Its powerful LED engine and very narrow beam angle (5.5°- 15°) gives it a long-throw capability that combines with a high CRI of 95 to deliver invincible performances, with premium output and quality of light.
A built-in, flicker-free power supply, and a choice of ventilation modes that ensure Arthur’s sound level is much quieter than any of its discharge rivals, make it ideal for sound-sensitive venues like studios and opera houses, as well as concerts and other live performances.
C&C Lightway is the exclusive distributor for Robert Juliat in South Korea: www.cclightway.com
For more information on Arthur LT and Robert Juliat’s full range of lighting solutions, visit www.robertjuliat.com
We could summarize the history of the fixture manufacturer Astera, in two distinct periods. To make it simple, a break-up took place in 2018, with its commitment to the world of cinema, and a line of unique and iconic fixtures. A difference that can be found in the different names of its product ranges.
Presented in “avant-première” at the Prolight+Sound 2023, the LeoFresnel and PlutoFresnel, their official release is as of June 1st.
From 2014 to 2018, then later in a more punctual way, the X series brought together a series of PARs, tubes, and bars, all LED, wireless, and with great technical commitment. The AX1, AX2, AX3, AX5, AX9, and other PiXelBrick find a well-deserved spot in the event and hosting sector, without however revolutionizing a very saturated market.
Everything will change when, between 2018 and 2019, Astera offers fixtures with much more poetic names like Titan, Hyperion, and Helios, dedicated to filming (TV and Cinema). The tubes quickly became essential for their extreme versatility and the incredible quality of their light. Their surnames inspired by Greek mythology (Hyperion being one of the Titans, master of light, also the father of Helios) resonates strongly with Astera, derived from Astraia, the star daughter of Zeus. A prophetic choice that places these fixtures within a few months in the constellation of essential luminaires, recalled here on video by Jesper Sorensen, Astera product manager.
Then appeared the small Hydra panel and the NYX bulb, goddess of night, and a well-thought-out hanging system for discreet and efficient light sources in the smallest and tightest places. And it was at Prolight+Sound that a “deus ex machina” of two divine and feline fixtures, the LeoFresnel and the PlutoFresnel, were unveiled before a select audience.
Pluto & Leo Fresnel
Sublimated vision of the Fresnel, Astera R&D has designed two innovative luminaires, the culmination of its research on wireless and ergonomics personified. Around a revisited Cob Titan source, RGB along with Mint and Amber, the PlutoFresnel and LeoFresnel are recognizable by their respective power. For the Pluto, 80 W of power consumption, the size of a large 5 or 6 kg torch, and a flux equivalent to a 300 W Tungsten. The Leo, majestic, has 250 W of LEDs, 16 kg, and a size that matches its brightness of 1000 W Tungsten.
For the light source, Astera has succeeded in integrating its famous Titan led engine into a single beam, with a specific optical setup and an unbreakable polymer lens. The result, which is particularly noticeable during demos, makes it possible to obtain a uniform flow, and without the chromatic aberrations or the slightest leaking of secondary colors which frequently occur. The manual zoom offers a range from 15° to 60°, from “spot” lighting to wide “wash” coverage.
Astera makes a point of keeping a slight margin on the power of the LEDs to preserve their lifespan. The Pluto is equipped with 105 W of RGBMA LEDs limited to 80 W, while the Leo benefits from the most powerful source integrated by the German manufacturer, with its 350 W of color LEDs limited to 250 W. The colorimetry obtained is of the same quality as that of the HydraPanels or the Tube Titan, with a white range of 1750 to 20,000 K, a TLCi/Cri Ra ≥96, and multifactor control: RGB, HSi, X/Y, Green/ Mag and gel references. Adding to its qualities, Astera associates a dimmer and a linear electronic strobe from 0 to 25 Hz, and a Flicker Free guarantee at 25 or 50 frames/s.
Perfectly adapted to any type of filming, the Leo and the PlutoFresnel add ergonomic innovations, such as the Aero numbered rails or the rigging adaptors.
We also have the pleasure to see the new Astera menu and its famous slider to adjust all its parameters with the swipe of a finger, as well as an adjustable fan/ventilation system. The fan offers three choices of speeds, an auto and/or a silent mode (without ventilation). The fixture does not adjust its power level immediately, but monitors its temperature and only dims when it overheats. This makes it possible to shoot for a short time in complete silence.
The user can control these Fresnels in different ways. Manually, with the screen located at the back, but also via DMX cable, with an infrared remote control, in wireless DMX CRMX, or with the AsteraApp app. The 2 fixtures are equipped with a Timo RX LumenRadio reception module. The wireless concept also applies to the power supply, since the 2 sources are equipped with an internal battery, with an autonomy of up to 20 hours by lowering the light output power. The Seamless Runtime function synchronizes the desired duration of use with the light intensity, in a completely transparent way. The maximum flow will be possible in MAX mode, in this case, the minimum guaranteed autonomy will be 3 hours for the PlutoFresnel and 2 hours for the LeoFresnel.
If this is not enough, it is possible to connect 1 RuntimeExtender (or 2 in the case of the Leo) and install external V-Mount or Gold-Mount batteries of 14.4V or 26V. The Fresnel yokes also include mounting points for the RuntimeExtender. For permanent installations, it is recommended to use a mains power supply, either directly with a PowerCON in the case of the Leo, or with a separate power supply and a hybrid cable for the power and DMX for the Pluto.
Different modes for the Fresnel Astera are available: DMX, wireless, manual, or via infrared.
Beyond the wireless capabilities and the quality of their light output, the Leo and PlutoFresnel are packed with innovations, and fixtures within several accessories requested by the DOP to satisfy their creativity.
Each Fresnel has all 4 sides fitted with Aero rails to attach a large number of accessories, including a large handle to use them by hand, or ultra-fast yoke clamps (the YokeBase). The removable yokes have an azimuth 360° wing-nut clamping system, for RunTimeExtender, 2 fold-out supports to be placed on the ground and a central notch for a standard TVMP adapter.
On the front side, a gel holder allows you to install an 8-plane barndoor with sharp enough edges to cut/block the beam perfectly. By removing the barndoor and the lens, the Fresnel can either work in open source, with beautiful shadows, but will also be able to be fitted with future sources. Astera has specially designed them to transform its Fresnel into premium profile fixtures with 16-36° focal length, a gobo holder, and 4 framing shutters!
With an infinite eye for detail, the LeoFresnels come with Rabbit-Rounder adapters, an ultra-simple attachment system developed by DOP Choice for its accessories: Octa, Snapbag, and Lantern. In the field of hybrid cinema/TV fixtures, Astera is increasingly establishing itself as an absolute reference. Not only is the finesse of its light a rare asset, but the attention given to every detail, as well as the quality of its wireless and battery-powered fixtures, is practically unbeatable.
The German firm Look Solutions, a specialist in effect machines, unveils a new powerful, robust, and innovative smoke generator. Its name “BOA” is in line with its fellow smokers with reptilian names (“Viper”, “Cobra” …) As for the 64, it designates its IP64 protection index.
The new BOA64 has an innovative nozzle to reduce noise.
The new BOA 64 is therefore a classic type smoke machine (by which I mean high output, using a water-based liquid and without an internal fan or turbine) of 1,800 W equipped with a brand new system of Quiet nozzle that significantly reduces smoke emission noise compared to other single orifice nozzles used up to now.
After a quick demonstration, it speaks for itself (or shall I say whispers), at high output setting (and it is!), the perceived noise is, by ear, approximately cut in half compared to another classic smoke machine of equivalent power!
Rear view with the 5-liter tank and connectors. Note the large handles are directly integrated into the housing of the device.
The device, which is therefore protected from splashing water and suitable for outdoor use, has a system for detecting the presence of smoke fluid which cuts off the emission of smoke in the event of an empty tank to protect the pumps (because the BOA 64 has two).
The electronics of the device detect the changes in the temperature of the heating elements to know if the liquid is vaporized or if the pumps are running on empty.
The BOA 64 has a brand new intuitive touchscreen control interface allowing you to configure its DMX mode, use it manually, to have access to the timer or the operating hours counter. Note that it is equipped with RDM, 0/10V control, and an Ethercon RJ45 port.
In terms of operation, the BOA64, due to its large heating mechanism, requires 15 minutes before being available at full power, it can then operate continuously at 30% of its maximum flow rate, which is accessible for about one minute.
Its price is not yet known but it should be around 2,500 € HT (public price). It should be noted that the machine is entirely designed and manufactured in Germany except for the electronic PCBs which arrive from Asia without their components to be equipped and assembled at the German factory.
In celebration of the coronation of King Charles III on 6th May, Palace of Westminster in London was illuminated in the iconic colors of the Union Jack – red, white, and blue. The home of the UK Parliament is a worldwide famous building dating from 1840 with iconic architecture. To illuminate the Gothic-style exterior facade in the national colours, lighting designer David Bishop chose a total of 74 units of Cameo ZENIT W600 LED Wash Lights, supplied by Version 2 Lights.
The IP65-rated ZENIT W600 fixtures were placed at the base of the building’s facade over a width of more than 250 metres by David Bishop and Gaffer Matthew Zelmanowicz, focused to uplight the historic building with a beam angle of 18°. When choosing the colours, the lighting team didn’t have to think twice: blue, white and red alternating across the entire width of Palace of Westminster.
Cameo_Zenit_W600
“The Zenit W600 was the obvious choice”, says David Bishop. “Its power, reliability and IP rating combine to produce stunning colours on any chosen canvas. In particular, the punch of the white chip in the W600 suited this application as we needed to ensure the naturally warm stone of the Palace translated into pure white to make the traditional red, white, and blue associated with the UK. The colour consistency across individual units is great too even when white was mixed with some blue, each unit in this setting was absolutely identical.”
Version2 Lights knows its way around royal events. The rental service provider already equipped Queen Elizabeth II’s (†) platinum throne jubilee in 2022 with hundreds of Cameo fixtures, including the ZENIT W600, and illuminated both the open-air stage and Buckingham Palace in the background for the famous Party at the Palace.
Simon Perrot, Version 2 Account Manager, adds: “The Zenit W600 boasts an impressive output and has come into its own on some of our larger outside broadcast productions. We see these fixtures appearing on more and more kit lists from leading television lighting directors, such as David Bishop. The W600 has rapidly become a dependable workhorse fixture for both studio and location work.”
ETC’s automated luminaires and entertainment fixtures have been selected by rental company Papadimas AVL S.M.P.C in Greece for renowned TV shows ‘The Voice’ and ‘Just the 2 of Us’, as well as ‘Phantom of the Opera’ in Athens, and Thessaloniki.
Almost 200 High End Systems moving lights feature across the productions, including Lonestar, SolaPix, SolaFrame and SolaSpot automated luminaires.
ETC’s affordable Lonestar fixtures took their Greek TV debut on talent show ‘Just the 2 of Us’, bringing their professional feature set, and quality output all wrapped up in a small package.
They joined over a hundred other High End Systems moving lights as well as 50 Source Four LED Series 3 Daylight HDR profiles, all controlled by a mix of Hog 4 and Eos consoles. Series 3 continues to wow on-camera around the world, with its patented X8 array giving unmatched control over how skin tones and objects render on-screen.
SolaPix Family
SolaPix 19 luminaires returned to world-famous reality competition show ‘The Voice’ this year, working alongside High End Systems SolaSpots and almost one hundred Source Four LED fixtures.
The unique face-look of SolaPix, with its HaloGraphic Pixel Definition and innovative FleX Effects engine is a big hit on-camera, but the fixture is also capable of incredibly smooth washes, adding even more versatility to the rig.
Papadimas AVL S.M.P.C established its presence in the broadcast market in Greece through working on such shows and supplying ETC products. “We met the demand for high quality equipment and services on the ‘The Voice’, ‘Just the 2 of Us’ and the ‘Phantom of the Opera’ with ETC gear, which has also set the bar high for our competitors.
The certified quality of ETC products combined with the large quantities we own have helped us create a fleet that provides exceptional results, with consistency and competitive prices,” comments General Manager at Papadimas AVL S.M.P.C, Panagiotis Papadimas.
The live productions of ‘Phantom of the Opera’ used a wide range of High End Systems spots and wash-lights alongside industry standard Source Four LED Series 2 Lustr profiles to bring the story to life. Released in 2014, Series 2 continues to earn its keep in hire stocks around the world, with venues and rental companies continuing to invest in its reliability and incredible color control, all backed up by ETC’s industry leading warranty and support.
ETC Regional Sales Manager, Konstantinos Vonofakidis comments: “I would like to thank Papadimas AVL for their continued trust in our products and services even during the challenging times of the pandemic. This has been a great collaboration that has been forged through the unparalleled support of our local dealer – Audio & Vision.
“The co-operation between Papadimas AVL and Audio & Vision has had a significantly positive impact on the TV and live events industry in Greece. The overall quality of lighting has improved with many productions being upgraded with ETC equipment, and DOP’s and LD’s continue to create unforgettable lighting designs with our products.”
Presented at Barcelona and available in six 4- and 8-channel models, Unica is Powersoft’s most advanced cloud-based amplification platform for medium and high-power systems. This range is set to grow both in terms of models and possibilities.
This new series required a team of 35 people and three years of work, which means 100 years of research and development potential in man-hours. Its Italian name, “Unica”, which means “unique” in the feminine, strong>explains the creative approach of Claudio Lastrucci, Scandicci’s amplifier master.
Powersoft co-founder and head of R&D, Claudio Lastrucci.
Unique because it offers a whole range of possibilities, flexibility and unprecedented resilience, and Unique again because a single networked platform is enough, through its six variants, to drive a practically infinite line of high-impedance ceiling speakers as well as the toughest of low-impedance subs… all at the same time.
Designed using Powersoft’s know-how in terms of power, sound quality, versatility, efficiency and reliability, the bar has been raised even further in these areas, while adding a significant element of innovation, which is in the DNA of the Italian brand and its response to the demands of integrators and players in the installation market.
The three high-power 4-channel models.
And the three high density models, with 8 channels in 1U.
Two separate lines make up the Unica family. Three 8-channel models with total power ratings of 2, 4 and 8 kW for theme parks and medium-sized venues requiring a large number of channels, and three 4-channel models with ratings of 9, 12 and 16 kW designed to meet the very high demands of large venues like stadiums or Arenas. Each of the six models is housed in a single rack unit, and is capable of delivering peaks ranging from 160 to 220 V and 30 to 80 A, making it ideal for modern loudspeakers and beefy transducers. Channels can be bridged in pairs.
An 8-channel model with eight fans paired with the same number of heatsinks that resemble isophase waveguides. The air flow is front to back, with a filter that can be cleaned without needing any tools, and a noise level of 24 dBA in the absence of signal, or up to 53 dBA at full speed. Note the DSP under the heatsink with the Powersoft logo at top left, as well as the power reserve, which is nicely situated in the airflow and totals 18,200 µF at 200 V.
The efficiency achieved by all Unica series components – including the switch-mode power supply with its single-stage PFC, the network inputs, the DSP and the latest-generation output stages controlled by the Smart Rails Management system – is the highest in the Powersoft catalog, as well as the highest on the market, at 88%. The same is true of the signal-to-noise ratio, the compact design of the circuits and the extremely low distortion levels, the absolute best of all models from the Florentine manufacturer.
A view of the three RJ45 ports and the USB port, where a memory stick stores the unit’s configuration, making it easy to replace in the event of failure.
Particular emphasis has been placed on reliability, with a redundant network input, rigorous management of heat dissipation, circuits designed to prevent a failure from spreading to the whole amp, and very short restart times after a power failure.
Finally, the replacement of a unit can be carried out simply by an electrician, or even by the owner of the venue, thanks to a complete backup of the parameters stored on the USB key located on the faulty amp, which simply needs to be inserted into the replacement unit. Powersoft calls this Easy Swap. To find out more about the Easy Swap function, a White Paper is available here.
A careful study of the heatsinks enabled the manufacturer to lengthen them to increase the surface area and the quality of heat exchange with the air, which in turn reduced the speed of the air and the noise generated.
As always, the rear panel tells the whole story. The two terminal blocks on the left are the amp outputs. The double row houses the eight balanced analog inputs, followed by the GPIO and other standby and level terminals and, finally, the three ethernet ports.
Among the new features specific to the Unica series, the presence of a PoE+ power supply on the amplifier’s network connections means that the amplifier can be programmed before the power supply is connected, a plus for integrators, and also offers almost instantaneous audio return after a power failure, since the DSP remains powered.
With PoE++ in class 8 and beyond, it’s even possible to test loudspeakers with 8 W power on each output, which has been requested by a large number of consultants, potentially saving a great deal of time on job sites. If you’re interested in this PoE function, Powersoft has published a White Paper available here. Of course, it’s possible to control each amp via the proprietary ArmoniaPLUS software, but more importantly, it’s possible to connect to Universo, the cloud specially created by Powersoft to monitor and remotely control any connected Unica unit.
Luca Giorgi with Claudio Lastrucci in the background.
At the presentation of the range, Claudio Lastrucci, the R&D Director who followed the Sales Director Luca Giorgi, suggested that Unica has sufficiently open, innovative and powerful technology to ensure that this platform, which already offers a great deal compared to Due, Quattro and Ottocanali, will offer even more, including surprises in the near future in terms of functionality, hardware, software and cloud, where much is still in development. He added that Unica is built to last, and will have a longer life cycle than other Powersoft ranges.
The 4- and 8-channel models will be available starting in the 4th quarter of 2023.
Genelec – one of the leaders in professional loudspeaker solutions – has elevated its customer experience and strengthened its commitment to sustainability by introducing a 5 year warranty on its designs. By registering their models on the Genelec website, the new warranty program allows Genelec customers worldwide to extend their standard 2 year warranty by an extra 3 years, covering both parts and labour.
Since the company was founded 45 years ago, Genelec has put sustainability at the heart of its design philosophy, by producing loudspeaker solutions with a long lifecycle and low environmental impact, backed up with extremely high levels of reliability and long term spare part support. This new extended warranty is an important step forward in that the extra three year warranty extension covers both parts and labour (where previously only parts were covered).
The warranty extension is activated by the customer simply by registering their purchases online via the Genelec website, a process that has been made faster and simpler by providing QR codes on product packaging to allow easy scanning of models and serial numbers. Once the customer’s details and proof of purchase are uploaded, Genelec distributor service centres worldwide can quickly verify the warranty status of any models returned for repair.
Ole Jensen, International Sales Director at Genelec.
“We’ve always been focused on designing loudspeaker solutions that provide decades of reliable performance for our customers, but we also want to offer them the extra peace of mind that comes with a secure extended warranty,” comments Ole Jensen, International Sales Director at Genelec. “We’re confident that our new 5 year warranty will make our customer’s lives easier, highlight the trustworthiness of the Genelec brand, and signal our continued commitment to sustainable development.”
For those who might not be familiar with the brand, RCF is a pro audio manufacturer with a comprehensive catalog of active and passive loudspeakers. From ultra-flat ceiling speakers, to line arrays, studio monitors and stadium loudspeakers, their various product lines cover all applications involving audio diffusion and reinforcement.
Davide Romani
We caught up with Daniele Romani, RCF Audio Systems Designer, for an overview of the latest products from the Italian company.
Although RCF is specialized in active loudspeakers, the company also offers a wide range of passive products, now boasting three ranges of amplifiers: the sturdy and spartan two-channel IPS series, the powerful multi-channel QPS series and, last but not least, the two four-channel amplified controllers with DSP and RDNet control, XPS 16KD and XPS 16K. The latter two – which differ only in the presence, or not, of a Dante port – deliver the performance needed to power the Italian company’s largest and most demanding passive products.
With 4,000 W per channel at 2.7 ohms and a switching power supply driven by a next-generation PFC, control via RDNet or the on-board 4.3″ touchscreen, 40-bit floating-point processing, 96 kHz operation and more, this amplified controller is a serious beast.
The big advantage for users of RCF’s active models is that monitoring and control of their externally-amplified systems has become just as simple and comparable in every way to that of their active models. Once you’ve assigned a speaker preset to an amp channel, you’ll find all its available settings and, with the XPS 16X and 16XD, there are plenty of them.
The XPS 16KD, with power, connectivity and comprehensive DSP.
SLU : These two amplifiers pave the way for the arrival of a new generation of passive loudspeakers in the RCF catalog…
Davide Romani : We already have a number of passive installation loudspeakers that will benefit from this amplifier, which also incorporates FirPhase crossovers and Bass Motion Control, a specific algorithm for bass transducers that keeps the cones within a defined envelope and protects them from fatigue, distortion or even failure. It’s also true that these amplified controllers will be used on a new forthcoming generation of touring loudspeakers that will take full advantage of their potential.
SLU : Speaking of potential, the output modules used in your new amp have been developed by a renowned Danish manufacturer.
Davide Romani : Yes, like other pro brands, we entrusted the manufacture of these modules to Pascal Audio, a company with whom we like to collaborate because of the strong synergy we enjoy with them. In particular, we worked hard on the efficiency of the XPS amps, its ability to respond to any demand without ever going into stand-by. We shared work and data with them, for example, when we were developing the DSP, so that the amp’s full potential could be exploited at all times.
The XPS DSP as displayed via RDNet, including 16 equalizers, as well as compensation for array size and air absorption.
SLU : Your DSP appears to be very comprehensive.
Davide Romani : It’s really loaded with features, including our own algorithms and a host of new possibilities such as 16 fully parametric EQs, advanced dynamic processing including dynamic equalizers, delays, bass shaping, air absorption compensation, mid-bass correction and all kinds of crossovers. The package is extremely comprehensive, in addition to the presets for each speaker model.
SLU : It must have taken quite a while to develop these new amplifiers
Davide Romani : Yes, but time, when you have it, can help to get things done, and with Covid we’ve had plenty of it, even though it was complicated by other logistical and component-sourcing issues. For the record, we started working on these two models in 2018, and the quality we’ve obtained is so high that they will be companions to the GTX series, a new high-power system that will be launched shortly.
SLU : The QPS amps already existed…
Davide Romani : Yes, absolutely, but the power supply of the new models is completely different, hence the term “Class HD”. Class H involves varying voltage levels that are activated in increments according to the amp’s requirements, in order to maximize its efficiency. With Class HD, instead of switching voltage in steps, the power supply follows the audio envelope, providing a little more than required, without the issue of incremental steps. This type of operation improves efficiency and reduces temperature increase in the stages, not to mention offering the possibility to operate at rated power on loads down to 2 ohms, with both DC and VHF protection to prevent very high-frequency peaks from damaging the transducers.
The two new QPS models.
Last but not least, the QPS models support bridged operation. This series, which requires the use of an external processor like the DX1616 or DX4008, will be a big hit with integrators thanks to its power, reliability and size.
SLU : So, out with the IPS, in with the new IPS K
Davide Romani : That’s right. This is our new entry-level 2-channel amplifier series; reliable, robust and with a wide range of models. As with the other series, the number with the “K” gives the total maximum power available at 4 ohms for the two channels.
The 5.0K from the IPS series, 5 kW at a very affordable price.
The power has been doubled from the last series to the new one, which was necessary since the old series started with a 2 x 300 W which, with an 8 ohm load, as it was frequently used, only delivered 170 W! For such power levels, we have some very interesting retail amplifiers. Now with the IPS, we start with a 2 x 750 W at the bottom end and go up to the IPS 5K, which delivers 2 x 2,600.
The outputs are via Speakon and terminal blocks and, instead of a fuse, we’ve installed a resettable breaker. As you can see, we use large toroidal transformers which, in permanent installations, pose no problem and allow us to obtain the various voltages required for Class H. This fairly conservative configuration guarantees reliability and a very attractive price.
After power, let’s talk about wood
SLU : After power, now let’s talk about wood and, sometimes, composites: the Compact A series looks a lot like the ART series…
Davide Romani : That’s right, the cabinetry is derived from that series, the ART9 to be precise, and that’s why Compact A has handles, which aren’t essential in the installation market, but there are all the mechanical accessories that allow them to be installed.
The Compact A series, or “how to optimize costs with composite cabinetry already manufactured for the ART 9”.
The rear panel of the Compact A, where the amp module would be, instead houses the passive crossover with MOSFET protection for the driver, as well as the input/output Speakon connectors.
This series, which included only the 10” enclosure, is now expanded to include a 12” and a 15” model. The use of the same composite cabinet reduces its cost compared with wood, and gives it a modern look suitable for a number of applications, such as stage monitors for a theater. The entire series uses our latest True Resistive Waveguide with constant directivity and the same 1.75” driver, with the bass reproduced by a 10”, 12” or 15” driver. The maximum SPL ranges from 128 to 130 dB.
SLU : Then there’s the all-wood Compact M
Davide Romani : These are excellent loudspeakers equipped with top-of-the-line Precision-series transducers. The grille is now visible and the foam is placed behind it, as requested by our customers. The smallest newcomer, the Compact M04, completes the small end of this range of two-way passive enclosures that also includes the M05, M06, M08, M10 and M12. Here too, the number indicates the diameter of the bass transducer.
The M04 is the smallest all-wood speaker that RCF has ever built. It’s a sealed-box enclosure with a 1” dome tweeter with a neodymium magnet, in a coaxial configuration with a 4” bass transducer. It sounds great, with a conical coverage pattern and a maximum SPL of 113 dB. Of course, it needs a subwoofer to fill out the lower end of the spectrum, and its 16-ohm impedance means that you can run several speakers in parallel, making better use of the power available from your amplifiers. As with all Compact M models, the input is via a rear-mounted terminal blocks.
The complete Compact M series.
The M05 and M06 use the same 1” tweeter coupled with a specific waveguide, while the LF transducer uses bass reflex loading. At 115 and 116 dB, the SPL is reasonable, but the sound is particularly high-quality. Both models feature 120° x 80° coverage. From the M08 up to the M12, the high end of the spectrum is handled by a 1.4” driver, which boosts the maximum SPL to 124 dB for the M08, and to a 129 dB for the M12. This series will soon be ready for outdoor use, as its paint will be upgraded to polyurethane, and an internal water-repellent fabric and waterproof Amphenol connector will be available.
SLU : Are there any presets for Compact M?
Davide Romani : They are in development now, but this range of loudspeakers works very well even without presets. We have many customers who already have their amps and won’t be adding DSP platforms to implement them. Finally, the M models are solid and the drivers are protected by a bulb. On larger models, we opt for MOSFET.
SLU : There are also two new Compact C series models, the C 32 and C 45
Davide Romani : These replace the C 5112 and C 5215, each of which came in five different versions, according to the coverage angle of the waveguide. Now, the coverage can be adapted with optional guides.
The two new additions, C 32 and C 45.
The optional adapter completes the waveguide, allowing great flexibility for the Compact C Series.
These two new C 32 and C 45 enclosures represent the top-of-the-range compact, two-way passive installation speakers in the RCF catalog, and both feature titanium-dome drivers with neodymium magnets – with a 3” voice coil in the case of the 32 and a 4” in the case of the 45 – loaded by a waveguide with a native diffusion of 100° x 50°, which can be oriented as required. With adapters, you can obtain 100° x 25° and 60° x 25°.
A peek under the grille of the Compact C 45, a loudspeaker 100% made in Italy.
The two transducers that handle the lower end of the spectrum are also equipped with rare-earth magnets and have massive voice coils, measuring 3.5” for the 12” and 4” for the 15”. Their sensitivity of 97 and 98 dB, respectively, combined with their power handling capabilities, allow them to achieve SPLs of 137 and 138 dB. With the C models, we’re clearly talking about a system designed for live performance, top-level clubs and any application requiring very high levels of performance. All the components come from our Reggio Emilia factory.
SLU : To conclude, what about the subs?
Davide Romani : We only missed by a few days the opportunity to present the S 15, the top-of-the-range companion to the S 10 and S 12. These are models designed for installation and are the companions of the Compact M.
The maximum SPL for the 10” and 12” are 124 and 125 dB respectively, with a bass response down to 50 and 40 Hz. We still don’t have the figures for the S 15. There are two other 15” models dedicated to the C series, the S 8015 LP, for Low Profile, designed to slide under a piece of furniture or a bench seat to be discreet, it features bandpass loading. Then there’s the S 8015 with bass reflex loading.
In anticipation of the S 15, here are the S 12 and S 10, the installation subs for the Compact M series. For the Compact C series, it’s best to use the S 8015.
The respective SPLs are 135 and 133 dB, and the LF limit is 43 Hz for the bandpass and 35 Hz for the bass reflex. In any case, all these subs require the use of one of our DSPs to ensure proper coupling with the heads, and likewise effective protection.
To say that we had no idea that a Yamaha console would sooner or later fill out the DM series beyond the little DM3 would be a lie, but the fact remains that this DM7 is a *very* nice surprise, and we mean that. An excellent reminder that this brand built its first digital console 35 years – almost two generations – ago.
Unveiled at an event in the heart of London that was simultaneously very British and very Japanese, this console – actually two and a half, as you’ll see – is packed with hardware and software resources, and seems to be taking the CL Series by the shoulder and accompanying it towards a well-deserved retirement.
Andy Cooper
That being said, our hosts were quick to tell us that this is not the case, adding that the second piece of good news is that the QL, CL and PM Rivage are back on the assembly lines, and that Yamaha can again take orders and fill them, as the supply of components has found its way back to the Japanese assembly lines.
As always, it was Andy Cooper, PA Application Engineering Manager who had the privilege of unveiling a DM7 flanked by its DM7 Control sidecar and a DM7 Compact, with a delicious aroma of hot components filling the room. The three tuning forks are resonating again!
Kazunobu Kondo in 2018 during his 2018 presentation.
We were also pleased to see for the first time the AI algorithms applied to Audio Pro, demonstrated fire years earlier by their creator Kazunobu Kondo at the System Designer Conference at Disneyland Paris.
What seemed a distant promise, and Artificial Intelligence a rather far-fetched concept, now equips the DM7 and takes on the sweet name of Assist mode, with help to relieve the technician of repetitive tasks such as typing in the name of each instrument, or even more with HA Level (gain) and Fader Level (mixing).
The Fader Level display window.
In addition to the consoles, three add-on cards also make their appearance in a new, more powerful format, called PY. These offer a welcome supplement to what could have been a missing element in DM7’s immediate success.
The first three PY cards. There will undoubtedly be more to come.
PY8-AE offers 8 AES/EBU inputs and outputs with SRC.
PY64-MD connects 64 MADI streams with a Wordclock input for SRC. Finally, the PY-Midi-GPI offers an input and output port for Midi and a GPI port.
Ideally, a second PY slot on the large DM7 would have been a welcome addition, but it’s safe to assume that a hardware extension will appear in the future to enable MIDI and AES, or MADI and MIDI at the same time…
But enough cherry-picking, let’s move on to a brief summary of what this new console has to offer, for an already defined and sensible price, which we’ll provide at the end of this article. First of all, let’s emphasize once again the power and versatility of the DM7. This series is designed to deliver excellent audio performance with ergonomics optimized for live sound, events, broadcasting, streaming and hybrid mixing, where one console is used to mix more than one stream completely independently.
Overview
The all-in-one DM7 features high input and output capacities, both locally and via native Dante. Two models are available: the DM7 with 32 local inputs and 16 outputs, capable of handling 120 mono channels in a footprint of 793 mm x 564 mm, and the DM7 Compact with 16 local inputs and 16 outputs, capable of handling 72 mono channels in a footprint of 468 mm x 564 mm.
With the cover pulled back, the DM7 is revealed, along with its DM7 Control extension, which can be seen on the right.
Both models offer up to 144 networked Dante inputs/outputs at 96 kHz, plus 48 mix buses, 12 matrix buses and two stereo buses. They can be used with Yamaha R Series I/O racks and a variety of Dante peripherals for flexible, customizable audio systems. Both consoles can be supplemented with the DM7 Control, a hardware extension to create a DM7-EX (or DM7-EX Compact) system. This unit adds more physical controls and is supplied with the additional Broadcast and Theater software packages.
Sound quality
The foundation of audio engineering must be transparent, uncolored sound: Yamaha mixing consoles are designed to capture sound with impeccable precision before letting users express their creativity.
The DM7 Compact’s on-screen equalization is extremely precise and responsive.
To achieve this, the DM7 series boasts a series of key features. For example, each Channel Strip includes the same four EQ types as the flagship RIVAGE PM series, as well as the all-new FET limiter and diode-bridge compressor. The signal order of the EQ and Dynamics 2 can also be modified.
On the Channel Strip (without drawing on the resources of the EQ Rack), you’ll find two dynamic processors, a FET limiter and a diode-bridge compressor, with a displayed log of their interventions, as well as a new balance between dry and processed sound, plus access to parallel mode.
Dan Dugan automatic mixing is included as standard. Pre-assigned to the Channel Strip, it automates up to 64 mixing channels without consuming EQ Rack resources.
The system also includes a range of virtual circuit modeling (VCM) plug-ins, such as the Portico 5033 equalizer and Portico 5043 compressor/limiter created in collaboration with Rupert Neve Designs, as well as the DaNSe dynamic noise suppressor and Dynamic EQ. In addition, an effects rack provides access to a range of high-quality effects.
Operation
The DM7 series features a new, simpler and more efficient user interface, with more intuitive ergonomics, while retaining the familiar concepts associated with the brand’s consoles. Two large 12.1” touchscreens (only one on the DM7 Compact) combine intuitive and precise operation, using the screen’s physical encoders and Yamaha’s familiar “Touch and Turn” controls.
Between the two screens, the silver Touch and Turn knob.
A new Selected Channel View screen displays a list of information on individual channels, allowing quick access to the parameters the operator intends to use, as well as the overview screen for operation reminiscent of an analog console. A histogram has also been added to the input meters to facilitate handling of the preamp levels. Another innovation for the DM7 series is the 7” utility screen, which provides easy access at all times to essential information and functions such as scene lists, user keys and meters.
Features
One of the major new features of the DM7 series is Split mode, which allows input channels, scenes and mix buses to be split so that a DM7 or DM7 Compact functions as two separate mixing consoles. With just one desk, users can mix FoH and monitors, FoH and broadcast or streaming without any compromise.
Part of the DM7 rear panel with the integration of the same powerful Dante card used in the Rivage series. 144 I/O channels at 96 kHz.
The integrated Dante network supports up to 144 input and output channels, and can be connected to devices from a wide range of manufacturers for flexible, highly scalable audio systems.
Preamplifier remote control and device control are also supported, making it easy to patch and control Dante devices from the console.
In addition, the DM7 series features a rear-panel USB-C port with audio interface functionality, offering 18 inputs/outputs for recording, distribution, playback as well as connection to conferencing systems, and control via MIDI devices and digital audio sequencers.
The DM7’s dual redundant power supply.
Naturally, Yamaha’s renowned reliability is at the heart of the DM7 series, and to take things a step further, it features a redundant power supply.
A wide range of software and applications are supported, including DM7 Editor, DM7 StageMix, MonitorMix, Console File Converter, ProVisionaire Control and ProVisionaire Touch, enabling offline setup, wireless mixing, monitor mixing and control (including peripheral devices)*.
Of course, scenes from the QL, CL and Rivage series can also be converted to DM7.
* DM7 Editor and DM7 StageMix allow users to enter channel names in the language of their choice.
The DM7 series includes an Open Sound Control (OSC) server function, which allows consoles to be controlled from OSC-compatible devices, and the DM7 Compact can be mounted in a standard 19” rack for convenience.
Expansion possibilities
The DM7 series can be expanded with the optional DM7 Control. By creating the DM7-EX (or DM7-EX Compact) system, this device adds two additional faders, user controls, an encoder wheel for digital audio sequencer control, scene memory controls, panning and monitors. It provides a user-friendly working environment for productions such as musicals, which require precise triggering and scene changes, and shows where monitoring and controlling digital audio sequencing is essential**. (** DM7 Control requires DM7 V1.5 or higher firmware.)
Close-up of the DM7 Control with its three tuning forks. You can clearly see the transition from the DM7 surface to the extension surface, with its encoder wheel and joystick.
The DM7 Control comes with dedicated Broadcast and Theater software packages.
– The Broadcast package includes functions designed to facilitate broadcast mixing, including support for 5.1 surround sound, Mix Minus, Audio Follow Video and Loudness Meter. – The Theater pack brings a number of features dedicated to live performance, such as Actors Library and DCA Scene Grid, as well as AFC Image control. These packs can be purchased separately for DM7 series users who don’t need the DM7 Control.
The single PY slot on the rear of the DM7.
The PY card slot on the rear panel of DM7 and DM7 Compact offers extensive connectivity with various audio formats.
The DM7 and DM7 Compact also come with VST Rack Elements, a plug-in hosting software that lets sound engineers create their own effects racks, as well as Steinberg’s Nuendo Live software optimized for live recording.
“Complementing our top-of-the-line RIVAGE PM and renowned CL and QL consoles, the DM7 series offers users a powerful option for starting their journey with Yamaha or expanding their Yamaha fleet,” says Thomas Hemery, General Manager Global Marketing and Sales, Yamaha Professional Solutions. “With future firmware updates, such as the significant new RIVAGE PM feature launching soon, the DM7 series will continue to evolve for many years to come.”
Andy demonstrating the new features at the DM7 presentation.
Feedback on DM7 from a number of key clients and the very first customers surveyed was unanimously positive, and it’s worth repeating that both consoles will be available starting in December, while the DM7 Control extension and the Theater and Broadcast software packages will be available in December 2023.
The DM7 and, in the foreground, the DM7 Control extension. The two together are barely a meter wide.
Andy Cooper has produced a ten-minute video in English, in which he details as much as possible about what the two DM7 consoles and their extensions have to offer. Watch it here:
In conclusion, I’d like to thank Yamaha and Nicolas Vermot for their helpfulness, competence and patience during this brief London jaunt, and to all the European staff for their availability and warm welcome.
So Floyd, Le Puy du Fou, Orelsan, the Artrock festival, Les Vieilles Charrues, Riles, Trackmania, Maxime Gasteuil: they all put their trust in the Naostage tracking solution, which was developed by a French company five years ago. We spoke to Paul Cales, president and co-founder, about the system’s stability.
Une photo d’anthologie qui valide une belle collaboration entre L’équipe So Floyd/Pan Pot et Naostage avec (de gauche à droite et de haut en bas) William Hamon, Laurent Begnis, Nathan Van De Hel, Olivier Le Doeuff, Alexis Reymond, Lily Blanleuil, Paul Cales, Serge Begnis.
I met up with Paul Cales, President of Naostage, at the Espace Martin Luther King in Créteil, for a demo of the K System. This tracking solution for audio, lighting and video professionals continues to amaze us with its particularly ingenious technology and its upcoming features.
We had already met them at ISE 2023 and the team had taken the time to explain the three elements that make up the K System: Kapta, Kore and Kratos. In this article, we wanted to ask the questions that potential users are asking: how long does it take to set up, and is this tracking system really reliable, particularly for use on tour?
Is the K System stable, and why do productions need an AI-based tracking system?
Paul claims a 20-minute installation time. This particularly rapid setup is almost unbelievable, and could even create a degree of anxiety in any user inclined to double-check (or even triple-check) his installation, so that he can sleep soundly at night. I tell him what I think.
Paul Cales, président et co-fondateur de la société Naostage, nous fait une démo privée du K System. Royal !
Paul Cales : It really takes 20 minutes to get the system up and running. Then comes the stage of parameterizing what we want to do with third-party systems based on the tracking data.
This involves, for example, the lighting programming of the show, with the decisions to track this or that performer and assign him or her a profile that will coordinate the machines.
SLU : The “So Floyd” tour, which is currently under way, uses your system. How long did it take to set up the system, on top of the 20 minutes it takes to install it?
Paul Cales : It took me two hours to set up the whole show. Then I was on site for one of the dates to hand it over to the technicians working on the tour and teach them how to use the system. They’re very happy with it. Indeed, the response from the So Floyd team has been extremely enthusiastic and, as Paul explains, the K System meets a growing need for customization of increasingly interactive and immersive audiovisual effects.
Watch the feedback from Sébastien Huan, lighting, network and tracking technician, and Laurent Begnis, lighting designer and console operator, for the “So Floyd” show.
Paul Cales : We also realized that there was a real lack of tools and that tracking is done manually in 95% of shows by spot operators, who productions are struggling to find, and the Covid period hasn’t helped. Even though these are jobs that require real know-how, there is an urgent need to automate these methods in order to achieve substantial savings in budgets, but above all to enable technicians to be redeployed to other roles for greater creativity.
« “Tracking is done manually in 95% of shows by operators, who productions are struggling to find, and the Covid period hasn’t helped.” Paul Cales, president and founder of Naostage
SLU : The system emphasizes its “beaconless” functionality, while others emphasize the security provided by bodypack or tag coupling. Why this choice?
Paul Cales : Let’s face it, the main purpose of a bodypack or tag is to reassure the wearer: “I’ve got a bodypack, so they can’t lose me…”, but this adds a layer of unnecessary technical complexity, and therefore potentially to failures. We also realized that these systems were restrictive for the performers. Putting a bodypack or tag on a mannequin for a fashion show isn’t possible, nor is it for conferences with a very large number of speakers, or for live performances and plays, when the performers are already equipped with wireless mic and in-ear monitor bodypacks. The second point is the cost associated with the installation and calibration of systems that require numerous antennas or cameras to be connected around the stage, not to mention the interference to which the installation will then be vulnerable. So there’s an associated cost that we felt was superfluous, which we wanted to reduce by proposing a different solution.
Installing the K System
Let’s delve into the details of the K System to get a better understanding of the Kapta tracking unit.
Kapta avec sa forme discrète se fond dans le décor pour un maximum de possibilités en un minimum de place. Les techniciens en charge de l’installation lui disent merci !
Kapta is the entry point and first element of the K System. It is a sensor composed of five cameras, including two pairs of thermal and near-infrared cameras located on either side to reproduce a kind of interocular distance and obtain a 3D stereo-vision view. These are combined with a visible-spectrum camera in the center. The device thus obtains a sequence of tracking positions with x-y-z coordinates. A very practical system for tracking a performer as they climb a riser or a staircase.
Cinq cameras et deux petits projecteurs infrarouges permettent de reconstituer une vue 3D de ce qu’il se passe sur scène pour des données de tracking en xyz particulièrement précises.
Thermal and infrared cameras work on the same principle: recording the infrared radiation emitted by bodies.
However, a thermal camera is sensitive to waves emitted at wavelengths of the order of ten microns (10-5 m), which are directly related to the temperature of the body producing them. An infrared camera, on the other hand, is sensitive to waves emitted at micron (10-6 m) wavelengths.
Last but not least, this device is attached to omega brackets with cam lock fasteners. In addition, its layout can be adjusted by means of small yokes that allow it to be flown and then tilted.
SLU : Are there any special features to take into account when installing it?
Paul Cales : You simply need to rig it in such a way that it can pick up the area in which you want to track. It can operate at heights ranging from 5 to 15 meters, for a stage measuring 20 meters by 12 meters, i.e. the size of a stage for a Zenith-size venue with just a single unit. For Orelsan’s Bercy dates, there was one sensor for the stage and one for the proscenium, which extended into the audience. The maximum distance for tracking a performer without loss of accuracy is between 30 and 40 meters, which is more than enough. This answer is clear and simple, as is the plug-and-play nature of the Kapta. Power is supplied via a PowerCon, and data is transmitted to the Kore server over the show’s fiber network, to which it is connected via RJ45, an EtherCon plug and a proprietary protocol.
Paul explains, “It’s important to plan for a minimum of 1 Gigabit throughput per Kapta, so as to avoid any loss of data from the five cameras and achieve smooth tracking”.
A video tutorial on how to install the K System:
The second element, Kore, is a classic 4 rack-unit server (i.e. the dimensions of a classic media server). It features two network cards, one to receive tracking information from one or two Kaptas (in case of a larger coverage area), and the other to send data to third-party systems.
“Putting a bodypack or a tag on a mannequin for a fashion show isn’t possible, and neither is a conference with a very large number of speakers.” Paul Cales
Also, the Kore server integrates an artificial intelligence that processes the Kapta data to detect, track and identify performers present in the area covered in 3D. “Today, we limit it to 16 individuals simultaneously per server in live show mode, but for interactive and immersive installations, the server can be expanded to track the public,” explains Paul.
He continues: “This intelligence, which we also call a neural network, has been trained by Deep Learning on hundreds of shows at festivals, concerts, plays, theme parks and events, where we installed sensors to collect data and learn how to identify and track people under real industry conditions. This training is still ongoing, to cover all possible cases and make the AI even more robust and efficient, as in cases where there are a lot of special effects (pyrotechnics, smoke, etc.)”.
Malgré un brouillard dense pour bien matérialiser les faisceaux, le K System trouve parfaitement sa cible pour une poursuite tout en finesse.
SLU : How long does this training process take?
Paul Cales : You have to understand that training AI is not a question of quantity, but rather a question of the quality of the data you give it as input. That’s why this phase is carried out in-house at Naostage. For “Le Mime et l’Etoile” at the Puy du fou, it took one night, and we can also carry out this process during general rehearsals in residence, to cover any possible scenarios.
Paul nous présente le patcheur d’assignation des détections. A ses pieds, le Kore, media serveur sur lequel repose le K System, s’intègre parfaitement dans un environnement technique grâce à son format standard 4U.
The Kratos software, the third and final element, displays the various camera views (visible spectrum, thermal, infrared), a 3D scene and the patcher for assigning subsequent detections to programming parameters.
Once the system has been installed and connected, the calibration phase begins, to provide a common reference frame for the third-party systems in the 3D space in which you intend to work.
To define this reference frame, you need to mark a 6-point rectangle on the ground and define its actual dimensions. Please note that this has nothing to do with the tracking zone; it’s just a rectangular x-y-z reference frame. The calibration phase ends here, and the system is up and running in 20 minutes, as promised by the manufacturer.
Le K Système a été lancé à l’export lors de l’ISE 2023 avec des partenariats en cours de contractualisation au Royaume-Uni, en Allemagne, en République Tchèque, en Turquie et des démos prévues en Asie.
How it’s used
The system can interact with third-party systems such as consoles, media servers or spatialized sound systems. Entering the field triggers a detection which must then be assigned to a target by an operator in the “Target patcher”. It is also possible to activate the auto-assign function, which automatically assigns a detection to a target in increments. The console then receives from the server and outputs its programming.
Quand un sujet entre dans le champ de tracking, une détection automatique est effectuée. Un opérateur peut ensuite l’assigner à une « Target » permettant de faire le lien avec l’encodage prévu dans un système tiers. En bas de l’écran on observe les vues unitaires des cinq cameras.
Among the target parameters, the “prediction” slider can be modified. This means that, depending on the tracked person’s speed and acceleration, the Kore can send a “Predicted position” to the console, to compensate for the mechanical inertia of the motors on the moving lights, for example, and keep the subject in the beam.
Paul adds: “It works like a followspot operator who foresees a dancer’s movements”. This is a useful parameter for giving the beam more or less inertia, depending on the situation. Last but not least, the operator can take control of the system from the Kratos software with his mouse or directly on a touch screen.
Sur le “Mime et l’Etoile » le Kratos avec l’aide de l’IA du Kore, calcule une position anticipée, symbolisée par un petit carré, afin que le moteur du projecteur puisse suivre correctement la vitesse du vélo qui traverse la scène.
It can interface with third-party systems and create automations for certain actions, accessible from an “action bank” or by coding in Javascript (like triggering an effect when a performer enters a zone, turning on a certain effect, cutting the performer’s microphone when he leaves the stage, etc.).
To trigger these actions, we assign them to “action areas”. There are four types of area:
– Green, where the artificial intelligence is authorized to detect people. – Blue, where anyone detected will be followed. – Red, where subjects are no longer tracked or detected. – Yellow, for triggering an action when the zone is crossed.
Il est possible de définir différentes zones dans l’espace afin de mieux gérer les options de tracking.
SLU : A show can be divided into chapters, so how do events follow one another chronologically?
Paul Cales : You can define thematic action groups and activate them as you go along. What’s more, another module called KratOSC allows you to control all Kratos elements via OSC. So you can use a Q-Lab, which is a show control system for a time-coded show, and activate/deactivate zones and actions as the show progresses. The OSC allows messages to be received for two-way communication between systems. A real tool for show programming and automation that enables every technical department (audio, lighting, video, effects etc.) to create complex scenarios.
The BeaKon radio tags supplement visual tracking and the “Light Patcher”.
To meet their customers’ needs, BeaKon radio tags will be officially launched this autumn to supplement the visual detection. However, Paul Cales confirms that they are already available for use. They enable continuous identification and tracking outside the vision zone. This is a truly interesting option for shows requiring complete automation of the system, as it is planned without an operator. “Pairing them with visual detection allows us to bypass any difficulties that might arise due to radio interference,” explains Paul. We can only applaud the comprehensive features of this solution, which, thanks to a particularly responsive and creative team, is as attuned as possible to the evolving needs of the industry.
So Floyd
A photo gallery of the So Floyd tour currently underway in France, using the Naostage tracking solution to manage followspots.
It’s a new system that raises questions about the absence of physical tags and about its subjects, who sometimes operate in extreme conditions (fog, effects). The Naostage team is well aware of this, and in response has come up with a particularly innovative and intensively-trained AI to deal with any eventuality, just as a followspot operator might do.
Installation time is significantly reduced, and only one operator is needed to track up to 16 or even 32 targets simultaneously. Kapta, Kore and Kratos, on the other hand, can create an unprecedented multiple-beam effect on a single target. This protocol communicates unilaterally with third-party systems such as consoles and media servers, but also offers OSC dialogue. But the system goes even further, with detailed programming possibilities for controlling lighting fixtures, PTZ cameras, LED panels or spatialized sound systems.
From musicals to virtual studios, from live festival shows to conferences, from concerts to theme parks, all applications are covered by this remarkable technological breakthrough, which we are honoring with an SLU Innovation Award.
Following extensive rounds of beta testing in mobile and installation environments, Adamson has publicly released the Windows version of its ArrayIntelligence software. The new software supports design for any Adamson system and full control and monitoring of CS-Series loudspeakers.
Brock Adamson a couple of years ago on the Adamson booth at PLS.
“ArrayIntelligence supports our vision of loudspeaker systems from initial concept through to deployment and regular monitoring of performance. We were in the design and simulation game since 2006 with Shooter, and then Blueprint AV™ in 2013.
These allowed Adamson-certified designers and engineers to deploy arrays of loudspeakers in different environments properly. ArrayIntelligence converges core Blueprint AV technology with real-time control of our CS Series and future products,” says Adamson CEO Brock Adamson.
The ArrayIntelligence application was designed with professional workflow and ergonomics in mind. The software is logically laid out to move from design & simulation to configuring I/O & routing, through to system control, metering and diagnostics.
The tablet version of AI.
Much of the design and simulation technology from Blueprint AV has been modified to allow for integration of identifiable and controllable endpoints into the workflow. In addition, ArrayIntelligence allows for easy implementation of multi-layer DSP zoning and grouping, auto-detection of online devices, use of Adamson’s proprietary optimization algorithm to fine-tune line array performance and many other exciting new features. The legacy software Blueprint AV will continue to be supported for system design.
Over the past year, an extensive platform development and beta test program has seen hundreds of deployments created and controlled with ArrayIntelligence. The process has led to a regular beta release schedule to test new functionality. Post-launch, ArrayIntelligence will see regular releases, as well as the opportunity for users to participate in ongoing beta versions to test new features as they become ready for testing.
Jeremiah Karni
Product Specialist Jeremiah Karni says, “Working with our development team, partners, and customers to test and tweak ArrayIntelligence to what it is today has been an amazing experience.
Previously, the tools available to our users for deploying our rigs after design and simulation were provided by a third party. Now we can support customers in the field at all stages of deployment and regular use of our systems.”
To access ArrayIntelligence, get regular updates and learn about future functionality, please register at this link
My Mother’s Courage is a bold new theatrical co-production by Teatro de la Abadia in Madrid, Ur Teatro Company and Palma de Mallorca’s Teatro Principal in Spain, recounting a gripping multi-layered narrative based on Jewish Hungarian-born George Tabori’s true story recalling how his mother Elsa Tabori escaped from Auschwitz and the Nazis during the Second World War using her wits and determination.
Multi award-winning lighting designer Nicolas Fischtel, AAI, was asked onboard by director Helena Pimenta with whom he’s worked on other projects. Lighting was absolutely integral to the storytelling which took place over the course of one single day, and also in providing environmental and locational details and context.
AX3
Nicolas used five Astera AX3 LightDrops as part of the lighting rig, which were located on scenery elements and props that were moved around the stage by actors as the action unfolded. The set, designed by José Tomé and Marcos Carazo, was stark and minimal and the objects moved around by the cast also all played a significant role.
The AX3s were attached to the set pieces via the handy magnetic base and could easily be removed from their bases and recharged as and when needed. It was vital to have high quality cable-free lights or the effect would have been impossible.
Nicolas explained that the idea was to make these scaled down set and prop elements come alive and offer the audience a different perspective, as if they were seeing the action from outside these very reduced elements. He maximised the AX3s to reproduce locations like the tram Elsa was riding when she was arrested, the train wagon that deported her to the concentration camp and the building where she and other prisoners were detained.
The story is related intelligently without becoming sentimental and with the addition of some wickedly honest dark humour, all vehicles allowing the author to distance himself from the rim reality.
Bright scenes followed by shadowy ones alternate throughout the play with lighting fundamental to the plot of this show, and helping connect the audience with the situations experienced by Elsa which took place on a sunny summer day, as per the author’s instructions. This creates a stark contrast juxtaposing the sun that brings life, versus the horrors of Nazi extermination. The Abadia Theatre purchased a kit of eight Astera AX3s for this production, supplied by Astera’s Spanish distributor Earpro&EES, and their technical department are delighted with the investment! Nicolas first used Astera products in summer 2018 at upscale harbourside cabaret club Lio Ibiza, when his associate LD Juanjo Llorens (also a busy LD in his own right) suggested using Titan Tubes in the background. They ended up also getting the dancers to hold and move the tubes creating some spectacular kinetic ‘blue tube’ choreography integrated with their dance moves!
“The results were stunning, and ever since then, I use Astera fixtures at every opportunity!” declared Nicolas, adding that he would advise any stage lighting designers to “go ahead and work with Astera products unwrap your creativity and feel free!’
His biggest challenge in lighting My Mother’s Courage which premiered at Teatro de la Abadia in Madrid, was to assist the audience in following Elsa’s physical and mental journey, with light isolating, highlighting, hiding and describing all her thoughts and emotions. The production is scheduled to tour from January 2024, starting at the Teatro Principal in Palma de Mallorca.
After 10 years of creation at the forefront of manufacturers, Ayrton presents its new spring summer 2023 collection in its cocoon of Prolight+Sound. In front of an audience of loyal admirers, a host of sharp-beamed Cobras fanned out in front of the image created by an army of Zondas. The “indecent” amount of universes and fixtures, bending under video hypnosis, has nevertheless given way to the inventiveness of a show dedicated to musicals and cabaret by the lighting designer, Mister Stéphane Migné. Above all, it is as much the gentle strokes as the fierce scratching of a claw done by the Washes with their creamy colors that enhanced the quality of the Ayrton light sources. Ayrtons next stars, the Argor and the Levante, did not strut down the runway but preferred to take the pose on stage, to show what Robe has in stall for the future.
The Ayrton show is about to start…
Argo 6
To balance between the Zonda 3 and Zonda 9, fans expected a mid-sized Zonda 6 that was ideal for human-sized stages. It is finally an Argo 6 that is unveiled, with all the expected features plus a last-minute twist: IP65 waterproofing right off the bat. Recognizable by its rounded dome, the Argo 6 is a multisource wash equipped with 19 Osram 40 W RGBW lenses arranged in concentric circles. Its 4 to 56° zoom extends over the entire surface of the LED cluster, it’s a 280 mm disc with millions of colors.
Presented at Prolight+Sound, the Argo 6 FX and its waterproof protective dome.
The FX version offers individual control of each of the 19 50mm sources, with flowing rivers of video pixels, the famous LiquidEffect. If the Zonda 6 will not see the light of day, the IP65 versions of the Zonda will soon be available under the names Argo 3 and Argo 6.
Several innovations are part of the Argo to ensure maximum waterproofing. The most visible, its gigantic front lens cut in a transparent polycarbonate, without reflections, is joined to the body of the fixture.
A subtle relocation of the Pan and Tilt motors in the base unit has made it possible to isolate them, without having to waterproof the yoke of the fixture. The cooling also uses sealed fans, with an optimized system. Thus, despite the mechanical constraints, switching to the IP65 waterproof version, the overall weight was reduced by 20%.
The Argo 6 is available in FX or Wash versions. The FX version keeps its impressive DMX chart with its multiple combined layers of effects, pixel toggles, and video imitation. The Wash version also offers a wide range of controls for each LED, with future individual pixel management.
Another bonus on the access to device settings, in addition to the physical panel and the RDM, also adding an NFC chip in its new fixtures. Thanks to a dedicated Ayrton app, all you have to do is present your smartphone a few centimeters from the Argo to change the menu settings.
The specifications/data sheets of the Argos and Zondas are summarized here:
Marketing of the Argo 6 has just started, first deliveries for this summer.
Rivale
After many years of fine-tuning its range of fixtures, Ayrton, whose emblematic fixtures such as the Diablo, Khamsin, or Huracan have conquered many stages, has just presented its vision of the perfect fixture detailed here by Cyril Union, electronics and computer development engineer at Ayrton.
>
Similar to the brand new design derived from that of the Cobra, more aggressive with angular edges and its lens set in a square frame, the Rivale Profile has all the latest innovations from Ayrton. If its size and its power consumption place it in the “3 series” (Ayrton’s most compact category), its large 160mm lens and its 450 W white module output an impressive flux of 27,000 lumens, leaving a Ghibli (a 5 series) far behind. Its zoom also leaves you in awe, with a 4-52°, at ease both in long range and in a wide beam.
IP65, improved ergonomics, and colors, the Rivale Profile is Ayrton’s future best-seller.
What is new is, in addition to the reboosted LED module, both the ergonomics of the projector and its color management. For its handling (set-up, de-rig, etc…), the use of a new aluminum and magnesium alloy for the body has allowed a drastic reduction in weight and thickness, without sacrificing its strength.
The total weight is 27 kg, with a very slim yoke and a base unit that has also been redesigned to accommodate the Pan and Tilt motors and the waterproof connectors… because, just like the Argo 6, the Rivale is natively IP 65. An astonishing achievement, the thinness of this spot makes the waterproof fixtures of the competition look like they are WWII battleships.
We almost lost hope waiting for the change in handles on the fixture. Now 4 large handles on the yoke have replaced the smaller ones that were on the base unit, another gold star for that. On the base unit, the menu also benefits from the NFC chip and the Ayrton setting app, in addition to the TimoTwo LumenRadio receiver. At the rear, the connectors welcome a newcomer, a PowerCON copy to supply 4 devices in cascade/linked.
CMY management switches from CMY flags to gradient disks, to eliminate any aberrations in the center of the beam. This new, more homogeneous system is coupled with a CTO corrector and a new red enhancement with a dedicated saturation disc. The color rendering is almost perfect, and without…a Rivale. The effects are linked as usual, with infinite Pan and Tilt rotation, 2 gobo wheels, an iris, a strobe, 2 prisms, 2 frost, an animation wheel, and 4 framing shutters. The Rivale Profile model presented at Prolight+Sound was a pre-series. The official launch will take place at the beginning of autumn and may be accompanied by a Wash version.
The passion of Yvan Péard, founder of Ayrton, for motorsport, comes through in the countless number of fixtures he has invented. Always pushing the limits, he presented at Prolight+Sound a Concept Light, inspired by the Concept Car of the cult Italian car manufacturer Pagani. The opportunity to present a brand new 30,000-lumen color source in a revisited Huracán base.
The future Ayrton profile with additive color synthesis.
Using a color source in a Spot type fixture is a challenge. Low efficiency, complex calibration, and, cooling systems have made the majority of manufacturers favor a white source with an optical trichromacy, petal system, flags, or discs tinting the beam. However, the RGB way would make it possible to obtain much deeper, more powerful colors as well.
Ayrton, therefore, had an RGB + Lime source developed, no doubt approaching 1,000 W. A specific “mixing” box integrates the 3 sources (red, blue, and the green-lime mixture) into the matrix. An oversized cooling system was designed for the 3 blocks, still at the prototype stage.
This model is a presentation of Ayrton’s work on color and shows the technological advance of the French brand, and allows itself a public presentation of technologies that are still secret Even if the fixture is functional, with the features of a Huracán and a zoom from 4 to 50°, it is still subject to changes. Given its size and its weight of 42 kg, it will undoubtedly seek a few thousand additional lumens to offer a real alternative to the plain white light source.
Bonus: the Ayrton Show
The Ayrton 2023 show was imagined by Stéphane Migné and programmed by Arnaud Pierrel, with the help of Robin Terrier and Rémi Derruau, from Ayrton France. It was set up and designed during the month of March and required 394 fixtures, for a power consumption of 380 kW. 111 Cobra, 24 Domino Wash, 24 Huracán Wash, 109 Zonda 3 FX, and, 126 Zonda 9 FX.
The programming was done on a GdMA3, soft 3 versions 1.8.8.2, with 5 GPUs. 700 universes were sent via sACN, including 650 by a Resolume media server. Pixel management was done with Mad Mapper.
