HARMAN Professional Solutions, the global leader in audio, video, lighting and control systems, including networked, today announced its new distributor partnership with Exertis in the UK. The distribution agreement entitles Exertis the right to distribute the collaboration and retail products range offered by HARMAN Professional Solutions. The agreement covers the entire AMX Acendo product family in addition to a selection of AKG, JBL Professional and Martin by HARMAN products.
“We are delighted to partner with Exertis,” said Richard Hutchinson, Regional Lead UK and Eire at HARMAN Professional Solutions, EMEA. “By appointing Exertis as one of our retail and collaboration space distributors in the UK, we will be able to address the new segment demands of the market. We are confident that with Exertis’ vision and high level of expertise, we can significantly enhance our market reach.”
“We are delighted to be distributing HARMAN Professional Solutions products in the UK,” said Jamie Brothwell, Business Development Director at Exertis. “JBL, AKG, Martin and AMX are leading brands in the industry with HARMAN being known in the industry as an innovator. We are looking forward to offering these paramount solutions to our customers.”
Exertis is one of the leading distributors of IT, communication and home entertainment products in the UK and a wholly owned subsidiary of parent company DCC PLC, Ireland’s fourth largest company.
The distribution agreement comes into effect immediately. Please contact [email protected] for any additional questions.
Launched in 2017 and already available within the same year, the Ghibli made its debut in lighting rigs in early 2018. This very compact moving head, whose 600 W white LED source generates a powerful beam for spot and framing effects, is on its way to becoming one of the standards for this type of fixture.
An ultra-compact fixture
The Ghibli is a fixture designed around a single key word: Compact!
Each component has been designed to create an elegant and compact machine. Every bit of the space gained in the design process has then been well thought out, down to the last detail. Ghibli is quite attractive aesthetically…
The design remains classic, refined and elegant. It appears that Ayrton decided to pay close attention to the design, carefully maintaining the minimum number of visible screws for an impeccable finish. The weight of the unit, 35.6 kg, is well optimized for an LED moving head with this level of power and features.
A very nice beam!
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Ghibli does Ayrton credit with the brightness and uniformity of its beam. Our flux measurement of 20,000 lumens at a 20° beam angle is more than satisfactory for such a compact spot. No compromises in terms of light! The beam is clean and crisp, exceptionally uniform, pure joy. It is very flexible and can be zoomed from 7° to 56°. The zoom is very quick and accurate.
The zoom
After so many tests of units with zoom ranges this wide, we had almost forgotten that this kind of range is impressive! For the record, at a distance of 5 meters the wide open beam of Ghibli covers a diameter of 5.4 meters. That alone is sufficient to make you realize the versatility of this tool in all kinds of situations.
CMY + CTO + color wheel
This white-source luminaire features a CMY color-mixing system, which uses a set of dichroic filters whose insertion into the beam is graduated and cut in a curve. The three primary colors are supplemented by a fourth set of CTO flags.
The color mixing is nice and balanced; even if the green tints are not very bright (typical for this type of unit), they are still quite usable. It should be noted that all the hues that usually soak up light in a subtractive three-color mixing system are compensated by really nice full-tint glassware on the supplementary color wheel.
The CMY color mixing + CTO
You can find a magnificent vibrant green, an ultra-deep red, a tangy orange and a very dense dark blue on this color wheel. This wheel has seven slots with saturated colors and a CRI enhancement filter. This last one allows you to switch from the fixtures native CRI of 75 to a CRI of 90. The filters are trapezoidal, with rounded corners. They are clipped in, so that they can be easily removed for possible replacement or maintenance. We can work with most of the tints, with the exception of the Congo-blue UV, which no white LED source can generate on a par with powerful HMI/MSR or other sources…
Gobos and graphic effects
Ghibli has two gobo wheels, one with eight static gobos and one with seven indexable rotating gobos, all made of glass and of the same diameter. One of the factory gobos is colored. It is a segmented cone with yellow elements that can be mixed with the color of the beam for a wide variety of effects.
The rotating gobos
An animation wheel generates horizontal stripes whose insertion and scrolling in the beam can be controlled. It is unfortunate, however, that there is a lack of sharpness at 5 meters, as the positioning of this animation wheel in the optical path has been optimized for projection a little further away, given that the light output of the fixture is intended for use in large rooms.
The gobos are well thought out and can be used for both graphic projection and mid-air effects in haze. There is a selection of shapes that are very popular in the theater, such as foliage and hazy lines, but also some very original and effective gobos, such as intertwining triangles and circular tracks, without forgetting some classics that border on retro, such as the cone (timeless and always magic), a “starry night” and an “explosion”, all of which are also great and always very effective classics.
The static gobos
The beam can also be softened using two progressive frost filters. One of these is called “Edge”, indicating a rather “soft” frost that slightly blurs the edges of a beam or projection, while the other is called “Frost”, indicating… well, a frost… As a matter of fact, the “Edge” is still quite aggressive and, even if it does allow very progressive variations and is dosed according to its insertion into the beam, it is still quite far from being subtle. Far be it from me to complain, as I spend my time complaining about those pseudo-frosts that are so light they are practically ineffective, and are of no use whatsoever. Here, at least, I’m getting something.
The second frost (and Frost it is!) is even more brutal and will completely blur the beam until it disappears entirely from any projection. Mixing the two is possible, but this doesn’t do anything other than bring the second frost filter into the beam.
Frost and prism effects.
A 5-facet, radial, rotating prism splits the beam and can be used either to effect projections with image multiplication, or to allow large scale aerial effects with a different beam size. The blending of images is very nice, it creates a very balanced distribution between a burst large enough to be effective, overlaid images that can be connected without over blending either one, at the same time preserving an unusually uniform luminosity and sharpness. In short, this prism is flawless!
Various graphic effects.
I had a blast with all the possibilities of combinations for creating graphic effects. The morphing between the two gobo wheels is effective because they are far enough apart to allow a good fade from one to the other. The prism is also very effective and dramatically enhances these effects. You can easily imagine wallpapering an extremely large surface with a multitude of gobos and various projections, the effects of which can be constantly renewed by programming, when your imagination does not necessarily know all the limits.
It cuts hard!
The Framing module allows the beam to be shaped very traditionally in accordance with the possibilities of four blades with total closure. The entire module can be rotated ±45° (with a total range of 90°) to provide a framing plane in any direction. These sharp and fast shutter blades can also be used to generate spectacular special effects, without limiting the use of this tool to subtle theatre framing.
The framing module in use.
Four fully-closing shutter blades mean that they are each inevitably on a separate focal plane, which means that they do not allow an absolutely sharp view of all the blades simultaneously. This is a classic compromise on all current fixtures equipped with framing, and seems to work for everyone. This framing module works very well, even if we were able to see some slight parasitic reflections generated by the blades themselves when projecting on a bright white screen: less than 10 lux of ghost image compared to 4,600 lux at the center. If we weren’t in laboratory conditions, but in a real world situation in a dark room, this phenomenon would barely be perceptible.
The light source
The source is based on what Ayrton calls an “array” of white LEDs, composed of nine lines of sources generating the luminous flux, which is then collected and concentrated by the optics of the source section. The source can be operated “line by line” to generate effects that take on a variety of different looks and are quite fun, depending on the gobos or different levels of sharpness. For example, you can create a flickering light effect typical of old movie projectors. Although it is not an absolute revolution, this original effect deserves to be explored further and will probably be useful in the future.
Photometric measurements
Derating
We begin our test with the derating. With the fixture at full power and the beam centered on our target, we measure the illuminance in the center 30 seconds after striking, and then every five minutes after that. The illuminance of Ghibli stabilizes in less than five minutes at an attenuation of 8%.
Narrow beam
At the tightest beam angle, which corresponds to a divergence of 6.87°, the illuminance at the centre at a distance of five meters reaches 48,020 lux after derating and 52,150 lux at the cold start. The flux of 14,870 lumens after derating reached 16,150 lm when cold.
20° beam
At our standard reference measurement of 20°, Ghibli shows its maximum efficiency. What make it a real worldwide success are its illuminance after derating of 8,811 lux – 9,567 lux when cold – and, above all, its flux of 19,880 lm after derating and of 21,590 lm when cold. It’s a very bright and efficient unit for most situations where power and nice light will be needed. It’s a big spot – just what lighting designers like!
Wide beam
At the widest beam setting, which corresponds to an angle of almost 58°, Ghibli maintains a very high flux of 18,000 lm after derating and 19,600 lm when cold, which gives it a great deal of versatility.
The Dimmer
The dimmer is obviously controlled electronically, using the intensity of the LEDs. The unit proposes two dimming curves in its menu: “Linear” and “Square Law”. We have plotted here the “Square Law” curve, the characteristics of which are very similar to the response of a halogen fixture.
The Square Law dimmer curve from 0 to 100 %…
… and from 0 to 10 %.
Construction
Ghibli’s construction is completely traditional, and as good as the best in this class. It has a very compact base, a large yoke and a particularly tapered and compact head. The only things that protrude from this elegantly designed body assembly are the levers that allow the mechanical locking of pan and tilt for transport or maintenance.
A view of the open fixture with the modules in place.
To access the head, two Philips-head screws, which are captive, are removed and each of the covers is held by a small sling that can be easily detached to facilitate maintenance. The plastic molding of the entire fixture is very well aligned and fits seamlessly together when reassembled. Impeccable! The other outer covers (outer yoke arms, inner yoke arms, base) are fixed with BTR bolts.
The arm covers use four of these. Two pieces cover the entire structure of the yoke, from bottom to top, while two pieces cover the sides. These are the ones that have to be removed for maintenance.
One of the arms houses the toothed belt that drives the tilt, which is connected to the motor through a pulley, while the other arm contains the cable harness conduit, the pan/tilt control board and the pan motor.
A view of the source module, with the LEDs visible behind the output lens.
Inside the head, four parts are clearly distinct, from back to front: the LED source module, the gobos/colors/effects module, the iris/framing module, the front end with zoom/focus/frosts/prism.
The rear section is therefore occupied by the “lamp” housing, in which the source module is enclosed. It is a 600 watt module, with LEDs arranged in an array (nine rows of LEDs at 70 W per row), that emits white light with a color temperature of 7000 K and a CRI of 75.
A rear view of the fixture with the covers removed, showing the cooling system of the source, the tilt belt in the yoke arm, and the wiring and connectors coming from the LED drivers housed in the base.
Behind this structure is the huge heat pipe cooling system that dissipates heat from the source with the help of two fans.
The next module, which can be removed, includes the gobo wheels, the animation wheel, the CMY + CTO module, and the color wheel. The assembly is extremely tight, but it is evidently quite simple to perform routine maintenance. However, this module must not be easy to dismantle!
The colors/effects module.
A view of the color mixing flags. Visible in the background is the animation wheel and a static gobo.
One of the technical solutions adopted to save weight and space is the use of stepper motors of an unusual type. They are cylindrical and a bit smaller than the classic cubical stepper motors that have been used in our fixtures for decades.
A view of the color mixing flags. Visible in the background is the animation wheel and a static gobo.
On this module we notice the presence of a filter that reduces the color temperature when introducing the gobos into the beam. Ayrton’s engineers found that the color temperature of the beam changes as soon as a gobo is engaged, and this small filter automatically corrects this phenomenon. It should also be noted that the user can choose at the software level to use it or not, as desired, to either maintain an identical color temperature in any situation, or to privilege luminous output at any cost. It is also worth noting that the difference is very subtle, and that the filter does not affect the brightness significantly. It is a small detail that, like others, helps to make Ghibli a fixture whose performance can satisfy the most demanding and fussy users.
The next module contains the shutter blades and their small electronic control board, but also the iris. The four blades are enclosed in a complex mechanical unit, with dual motors for each blade, all assembled on a rotating plate.
The back side of the framing module.
The front side of the framing module.
The color/effects and framing modules can be removed relatively easily by disconnecting one small sub-D connector per module and, for the color/effects module, by loosening four small screws. Strictly speaking, these are not captive screws (they can be removed completely), but the trick is that you only have to loosen them slightly to be able to slide a small tab that then releases the module. The screw therefore remains attached to the unit (unless you are not familiar with the system and unscrew it to the end like a dummy…). To remove the framing module, on the other hand, it is necessary to remove the screws…
With the two modules removed, you can see the quality of the machining.
Many technical solutions are available to avoid having small screws rolling around everywhere (captive screws, quarter-turn systems, etc…) and to guarantee easier maintenance for these fixtures, which may have to be serviced between concerts, in the dark backstage.
Finally, the extremity of the head of the unit includes a linkage which supports the zoom and focus and their motors, in front of which is the impressive output lens at the exit of the beam. The arms carrying the prism and the two frosts insert them into the beam just before the light passes through the zoom/focus system.
A view of the open fixture with the modules in place.
Each module is equipped with its own driver board, which allows the electronics of each element to be separated and the routing to be streamlined. It is a technique that has become common practice. No more monstrous motherboards in the base of the fixture. This new technique – which is made possible, among other things, by the miniaturization of components – has the advantage of considerably reducing the size of the cable harnesses that circulate throughout the unit. Disassembling the base reveals a tightly packed space. Here we find the two power supplies: one for the control electronics and the other for the LED source. A LumenRadio receiver for wireless data transmission is soldered directly to the circuit board. It can be configured in the menu.
In the base, there is also a small battery holder (Lithium type ICR-14500, 3.7 V) that allows you to access the menu when the unit is not powered on. Due to air transport safety standards that prohibit lithium batteries, it is not included with the fixture.
On each side of the rectangular base are the carrying handles; the other two surfaces host the connection panel (XLR5 In & out, 2 x RJ45, fuse holder and True1 mains connector) on one side, while on the other side are the display and a menu access wheel.
The connection panel.
The display and its clickable wheel.
Ghibli’s suspension system uses two Omega brackets that are fixed to the base of the machine using quarter-turn cam locks.
Software and display functions
The menu is very extensive but simple and logical. It only takes one finger to navigate around in it. Note that this fixture can be used as a network switch via its RJ45 ports. A “signal select” menu allows you to choose the control mode (DMX, Wireless, Art-Net, sACN…). The unit can be controlled in three modes: “Basic” 8 bit (36 channels), “Standard” (38 channels), and “Extended” (58 channels), in which almost all the parameter channels are doubled to 16 bits. It is also possible to create your own modes and to save them and recall them at will. A new feature from Ayrton is the possibility to upload the software from one unit to another by simply connecting them together.
Also in the menu options is the configuration of the four ventilation modes. The “Auto” mode lets the unit automatically manage its ventilation according to internal temperatures measured by different components, the “Stage” mode automatically sets all ventilation to full, a “Studio” mode significantly reduces ventilation noise at the cost of a few lumens, and a “Silence” mode reduces ventilation to near silence at a cost of a 20% decrease in luminous output from its peak level.
Conclusion
Ghibli is a remarkable fixture that positions Ayrton from the outset as a reference in the field of next-generation, high-performance moving-head spots. It is a really nice and effective tool that is becoming a standard for this type of product. At the time of writing, Axente has sold more than 400 of them in a matter of weeks at the beginning of its career. We have moved from a not so distant past when emerging LED technology – in which Ayrton has been at the origin of many innovations – produced washes and effect fixtures, to an era where LED spotlights are replacing the “1200 HMI” category lamp spots in an exemplary manner.
What we like
Light
Versatility
Optical quality
Power
Compact format
Effects richness
What we don’t like
The slight stray light on the border of the blades
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Some of the rental companies with Ghiblis in their stock: Neg Earth (UK), Ampco Flashlight (The Netherlands), V-Production (The Netherlands), Motion Group (Germany), Jäger Group (Germany), PA Line (Germany), YES Rental (Belgium), SVV (Finland), Fluge Eventos (Spain), Gam Eventos (Spain), Impact Evénement (France), Melpomen (France), Novelty (France), Pan Tilt Lighting (France), Scène de Nuit (France), Skynight (France), Stienne Production (France), Sub Impact (France), Ultra Son (France), VLS (France), and more…
PlugFest, the technical event for entertainment lighting interoperability organised by PLASA, returns 26-28 February 2019, but this time in mainland Europe, allowing for more manufacturers, developers and technicians from across the continent to meet and test their products. PlugFest is an opportunity for participants to collectively test and demonstrate device and system interoperability with the aim of improving reliability, resolving compatibility issues and ultimately improving connectivity between all entertainment lighting and related technologies.
Focusing on a wide array of protocols including DMX512, RDM, DALI, sACN, Art-Net, RDMnet and LLRP, the event’s expert hosts, Hamish Dumbreck (JESE Ltd), Wayne Howell (Artistic Licence) and Peter Willis (Howard Eaton Lighting) helped create and define many of the protocols relevant today and will be on hand for guidance and support. They will also host a series of workshops and break-out sessions during the event.
New for 2019 will be a presentation on the ESTA Entertainment Industry control protocol standards which have been in public review since the last PlugFest, with the revised drafts of the RDMnet standard being of particular interest to many previous participants. Attendees will also learn about the latest ESTA/ANSI standards which are expected to be released in early 2019.
Last year’s event welcomed major brands from entertainment lighting including Robert Juliat who described PlugFest as “a unique event to meet in a neutral environment, network with our peers, learn about technology and interact with experts.” Zero 88 commented that PlugFest is “an unparalleled opportunity for our developers to fix potential issues, before our customers find them” and TMB added that PlugFest is “an indispensable opportunity for techs and developers to broaden their knowledge.”
PlugFest 2019 is taking place in the city of Lille, France which is directly connected to London with the Eurostar, and all major European cities via a mainline train station. The residential element allows for networking and socialising to continue into the evening. There are a limited amount of discounted hotel rooms reserved for the event, so early booking is recommended. The organisers are arranging a van for UK participants to easily transport their equipment to the event, please contact PLASA for more information.
PlugFest is organised by the PLASA Association, for more information please visit: www.plasa.org/plugfest
Good old saying “The more, the merrier” still rules for Claypaky, simultaneously introducing at JTSE exhibition in Paris end of 2018 two new players in the crammed field of moving heads, yet paying attention, more than ever, to adding little extras inside … well, not so little actually, let’s have a look !
Sharpy Plus
The official Sharpy Plus European Premiere at JTSE
Eight years after a major breakout in the intelligent light world, the Sharpy gets a full in-depth refurbishing, or we’d better call it reinvention. Equipped with a brand new Osram lamp, the Sharpy Plus merges the fullness of a Spot with the dazzling brigthness of a Beam. If you think the Sharpy Plus descends more from the Mythos than from the Sharpy, you’re damn right. The Sharpy Plus relegates the Beam projectors’forefather stand Sharpy far beyond, mutating into a hybrid fully-fledged with features.
Its lamp, to begin with, is a new model from Osram, the 330 W Sirius X8, designed to bring maximum light output … and stability ! With a previsional 300,000 lux @ 10 m distance, the Sharpy Plus would come very close to its major eastern-european competitor, at least with a 3° angle in Beam mode. And yes, let’s repeat “in Beam mode”, as the Sharpy Plus is mostly a full impact Spot, but with a very even projection beam. The projection of the gobos, from a choice of 8 glass ones, doesn’t show any noticeable defect, and the ones in color are hardly blameworthy.
Exclusive from the Claypaky booth at JTSE Paris exhibition, SoundLightUp presents its blasting beam, 3°-36°zoom, FX collection, CMY color mixing, 3 color wheels, gobos, Frost, prisms, animation wheel and much, much more.
Emilio Cornelli, Sales Director of Claypaky, introduces the strong points of the Sharpy Plus.
A specific function boosts at will the light output for extra concentrated lumen galore, with parallel rays of light, with a little help from 12 fixed gobos and 6 beam reducers available on the same wheel. This Boost channel, with ancilliary HotSpot setting, allows fast changeover from Spot to Beam by inserting a dedicated lens inside the optical patch. The zoom multiplies the beam angle by 12, thus going from minimal 3° angle up to its 36° maximum.
The color mixing and some of the gobos are very close to whose inside the Mythos. This well-known trilogy of color discs has the first section dedicated to cyan, magenta and yellow, and the rest to 15 fixed colors and 2 CTO filters. More “electric” than on the Axcor range, some hues and very saturated colors come close to the swatchbook of the Claypaky HPE, pre-Sharpy iconic moving heads.
The FX make the Sharpy Plus top the bill indeed, be it the 8-facet prism, the linear 4-facet prism or, in addition, the animation wheel. Last but not least, a progressive Frost blade will soften the beam edge, very comparable to a Wash. With a weight of 21 kg, the definitive version of the Sharpy Plus is quite fast, even though the standard Sharpy remains unreachable on this matter. The menu and the ergonomics are faithful to the Claypaky know-how.
One more thing … if you want to know what the final Sharpy Plus price will be, you’ll have to contact your distributor. Some say that the “Plus” word in the product name could lead to a minus in the pricing … First deliveries are expected beginning of 2019.
Axcor Spot 400
Following the exclusive presentation of the Axcor Profile 400 and 600 last september at Plasa London, what more could we offer you ? Easy, let’s unveil the Axcor Spot 400, then!
Axcor Spot 400
This bladeless model is more price conscious, on request from a number of customers. It does keep the 300 W led engine from the Axcor Profile 400, and still offers a choice of two models, normal or HC, according to your main focus on light output or sheer quality of the color rendering. Standard version delivers 16,000 lumens @ 6500K, with a CRI of 70. The HC (High Color Rendering) version goes up to 12,000 lumens @ 5600K, but with a CRI of 90, for a more natural light. Slightly brighter than the Profile model, its optical system includes a larger lens (125 mm), and a bigger zoom ratio from 5° to 55.5°, with enhanced direct lighting.
The Axcor Spot 400 includes the same CMY color mixing plus linear CTO and 6 color wheel than the Profile. The extra space created by the missing framing module is used by a HD rotating gobo wheel, in addition to the 4-facet prim, animation wheel, iris and frost already part of the Profile model.
Already available, the Axcor Spot 400 completes the Axcor range, maybe until later a Beam version of the Axcor Spot 600. Contact your distributor for a test anytime.
K25 et K15
Last final “even more” effect, Claypaky plans the launch of the new B-Eye K25 et K15 early April 2019 at ProLight & Sound Frankfurt. Keeping the functions and general concept of the K20 and K10, these new items will be equipped with leds twice as powerful, an enhanced 80 % light output in narrow beam, and 100 % in wide beam. “Even more” seems to be Claypaky’s motto nowadays, didn’t I tell you ?
Premiere at latest French JTSE exhibition on Chauvet France booth, with Albert Chauvet himself, and interesting newbies like a 230 W led PAR56, two profiles with CRI of 96 in warm white and two Fresnels, quite a lot to discover! The French subsidiary had a dedicated bigger “black booth” in addition to their standard one, with Albert Chauvet in person welcoming visitors, and a contortionist as physical and moving support to demonstrate the quality and versatility of the light.
The led PAR Ovation P-56WW.
Let’s start with the revisited good ol’PAR56, named here Ovation P-56WW in warm white 3422K (this IS precise color temperature indeed). It can also provide variable white under the evocative name P-56VW, or in color with FC suffix, or even UV.
They all contain a 230 W led engine, and offer a choice of several lens apertures: 24°, 39° or even a wide 81°. They’re controlled in bidirectional DMX-RDM, quite easy to use nowadays…
The two IP65 profile models in the same Ovation range are ready to project Santa Claus, Happy New Year, Eastern Rabbit, Your Very Own Logo or whatever will spring to mind for outdoor significant seasonal or long-lasting messages.
The first one, the Ovation E-260 WW IP, in 3149K warm white, is equipped with a 230 W led module with a CRI of 96. The other one, the Ovation E-910 FC IP, comes with a 91 x 3 W led module with 5 chromatic colors: RGB + Amber + Lime, providing not only a large choice of colors, saturated or pastels, but also a tunable color temperature between 2800K and 6500K, although with a CRI not exceeding 82.
Last but not least, let’s go back indoor with two IP20 Fresnels mainly focussed on the quality of their variable white.
The Ovation Fresnel F-415VW…
The smallest model Ovation F-415VW (120 W) has a color temperature widely tunable between 2800K and 8000K, thanks to 46 leds from 3 to 4 W depending on the primary color: RGB, royal blue, orange. According to the kind of white you choose, the CRI itself will evolve from 89 and 93. This Ovation F-415, with its zoom 27° – 68° zoom, is available in Full Color version as well.
… and the Ovation F-915VW
The bigger brother Ovation F-915VW (260 W), only available in variable white, uses an array of 89 leds, 3 W each, in red, orange/red, green, blue, royal blue and lime. The span of the color temperature adjustment is the same as the previous model, between 2800K and 8000K, with a CRI between 88 and 92. The zoom ratio is even bigger, from 30° to 85°. Both models can be controlled in DMX-RDM, with various dimming curve options, more than welcome for very precise theatre applications.
Remember Bowie’s The Jean Genie lyrics? Well, the most famous lines of it can be easily diverted, as the greenish new wonder in the world of clever digital intercom just got launched at Paris JTSE latest exhibition.
Demoed by Silvio Cibien on his French distributor Axente booth, this nice piece of kit, a very complete wall mount station, complements ideally any Green-GO network for easy use in the wings, a technical hub room, or any place from where you want talk to the other users of the network, not only hands-free, but hassle-free as well. The Wall Panel X gives you direct access to a maximum of three channels, either a single direct user, or up to a full group.
To give the user extra capabilities, the Wall Panel X has both a headset connection and a clear-sounding integrated speaker. It can provide connectivity to all requested or desired stations on any kind of Green-GO network, and can make use of 32 available channels, a program audio channel and an extra channel for direct user communication on the headset. Talking about channels, an extra set is available for the main Speaker, meaning that all users can address multiple groups or directly (and privately) other users if they wish to.
It includes all bells and whistles to make the user feel at ease with this comprehensive central controller/monitoring tool: full-color TFT touchscreen, 3 backlit buttons for instant access to the 3 communication channels, and rotary encoder which acts as a volume control. When pressed, this encoder answers the most recent audio source. Note that all matrix data are stored internally.
Let’s sum up the stronger points of this interesting “small little greenie”:
As usual with the Green-Go system, no separate matrix or interface is required, so the Wall Panel X can be easily combine with any other Green-GO Beltpack or Multi-Channel Station.
PoE (802.3af-2003 Standard) networking and powering. All data stored in local memory: routing data, system setup, general and local preferences.
Easy to configurate with Green-Go Control freeware.
Last but not least, integrated speaker of clear-sounding quality.
Well, now it’s official : German audio technology company d&b audiotechnik is delighted to announce the imminent arrival of a new addition to its familial line array, the SL-Series. The newest member of the clan will be in the world for all to see at the NAMM show in California, from 24 January 2019. Remember our sneak preview some months ago for our french readers ? Watch this …
The KSL System is the versatile, no compromise smaller sibling of its ground-breaking big sister GSL. KSL brings to market all the recognizable benefits of its Special Loudspeaker (SL) lineage, including full range broadband directivity, extended LF response and advanced rigging options in an accessible size and performance package.
KSL is designed for sound reinforcement needs of any genre, mobile or installed, from large scale arenas, stadiums and festivals to medium scale applications such as clubs, theaters, houses of worship and performing arts venues. Like all good siblings, KSL and GSL work independently or as perfect playmates; an ideal match in terms of tonality, headroom, coverage, planning and deployment infrastructure.
The d&b SL-Series represents a significant evolution in the design and performance of line array systems. The ability to control the full frequency spectrum minimizes low-mid frequency masking in the reverberant field, allowing system engineers to reduce the overall SPL level in the venue, greatly improving the system’s intelligibility and dramatically cleaning up the stage monitoring environment. When used in combination with the d&b NoizCalc software, engineers, event managers and promoters can benefit from powerful noise emission modelling solutions for system configurations on outdoor events of any scale.
Directivity control, acoustical performance and optimal workflow
Werner ‘Vier’ Bayer from d&b Product Management: “The SL-Series is the latest step in d&b‘s continuing obsession with directivity control, acoustical performance and optimal workflow. The industry and the environment in which we operate is constantly evolving and this means our systems are meaningful only when they deliver value to our customers and their clients.
Premium acoustical performance for the highest quality listening experience is but one dimension. Workflow and a fully engineered system solution is another, but we are now in an era where the control of sound dispersion and the minimizing of noise is of critical value to the events and the venues we serve. The SL-Series is therefore bigger in more than one dimension and we are delighted to be launching the KSL System to the market.” “As with all new developments it’s essential we understand what technicians have in mind when they’re working,” adds Matthias Christner, Head of R&D Acoustics at d&b. “These challenges become the vision, something that we can shape with our own instincts and knowledge. This is why we talk about evolution not revolution, it’s a continuous updating of ideas; each step builds on the last. KSL is our latest advance on that journey and is warmly welcomed into the family.’’
Product Details
The complete KSL system with its 6 X D80 touring rack and the SL-SUB
The KSL8 and KSL12 loudspeakers, with 80˚ and 120˚ horizontal dispersion respectively, are unique among similar sized line array modules in providing consistent pattern control down to the lowest frequencies. The geometry of two front facing 10” drivers and two side firing 8” drivers couple and apply cardioid techniques, creating precise broadband directivity with significantly extended low frequency headroom towards the audience. This low frequency extension and headroom is so effective that it negates the need for subwoofers flown behind or alongside the main hangs in many applications. Midrange is delivered by a high sensitivity horn loaded with an 8” driver, while two innovative, custom designed 3” voice coil HF drivers mounted on a wave shaping device provide the high frequency resolution and output.
The SL-SUB / SL-GSUB subwoofers complement the low end with two forward facing 21” drivers and a single, rear facing 21” driver delivering the cardioid dispersion. It extends the response down to 30 Hz with exceptional dispersion control, impressive low frequency headroom and unmatched efficiency. The SL-SUB can be flown, while the SL-GSUB is designed for ground stacked applications.
Tension and compression rigging
Each SL-Series loudspeaker is amplified in 2-Way active mode by the d&b D80 amplifier. The SL-Series brings a patented combination of tension and compression rigging procedures to the d&b three-point rigging system, thus completing the comprehensive package. Designed to fit within standard shipping container and truck sizes, KSL comes in touring carts with protective covers and completely packaged rigging infrastructure.
By taking over Ehrgeiz on 1 January 2019, GLP is resolutely continuing on its strong growth path and portfolio expansion, particularly in the outdoor sector, with innovative and high-quality solutions.
Steven Braun, managing director of Ehrgeiz, stated: “Since both companies are located in the same place and are active in the same market, there have always been points of contact. Ehrgeiz has been successfully developing and marketing products in an increasingly competitive market in recent years. This fact has not escaped GLP and there have been discussions as to how we can combine the strengths of both companies. I am delighted to be joining the GLP family, along with the Ehrgeiz team, and continue to develop great and innovative products.”
Udo Künzler, CEO of GLP, responded: “I am proud to welcome Steven and his Ehrgeiz team, and we look forward to working together. Ehrgeiz has developed a broad expertise in recent years and knows how to develop innovative products, and this is particularly evident in their outdoor products. The merger will expand GLP’s portfolio in areas where we see great potential and will make us even stronger in the coming years. Taking on Ehrgeiz is a win-win and will drive us further in our global growth strategy.”
Total integration
At the beginning of 2019, Ehrgeiz, including its employees, will be integrated into GLP and Ehrgeiz will remain as a brand within the GLP operation. The service and support for existing orders and customers will still be guaranteed after the takeover.
One of the bonuses of working with innovative and influential artists like dance music producer and megastar DJ Hardwell … is that you get to work on some unique and interesting shows … “Symphony: The Global Revolution of Dance” was one of those moments for lighting and visuals designer Andre Beekmans of The Art of Light and operator Jaap Kamps.
The event was a live performance and collaboration between the globally popular and world leading electro DJ and multiple Grammy winning Metropole Orkest at the Ziggo Dome in Amsterdam, celebrating 30 years of dance music. It was staged to coincide with the renowned Amsterdam Dance Event (ADE) conference.
Andre and his Eindhoven based creative visual practice The Art of Light – who have designed and co-ordinated Hardwell’s lighting for some years – were approached by organisers Fourmation Events and MOJO and asked to create a memorable and appropriate ligating environment … for which he specified over 200 Robe moving lights – Pointes, Spiiders, BMFL WashBeams and BMFL Blades. The show presented many challenges to Andre and his team which included Art of Light colleague Jaap Kamps, who is Hardwell’s regular lighting director on the road.
Pyramid shape stage
A key starting point were the main set elements, designed by Freek Cornelissen of 250K, including a large pyramid shape upstage comprising four equilateral triangles each filled with LED screen. Flown just in front of this was a skeletal trapezoidal shaped lighting sculpture made up from multiple triangles outlined with pixel-mapped LED battens … which were under the control of the lighting department, fed content via a Hippotizer media server.
The back wall featured a large triangle filled with more LED screen and another flown triangle downstage was positioned just above Hartwell’s DJ booth. The orchestra platform on the deck involved several layers and was also outlined by LED strips arranged in triangular sections. The roof was filled with flown trusses – the two main ones also triangular in shape to maintain thematic continuity – to provide lighting positions. As the production lighting designer, Andre’s brief – in addition to lighting the “Symphony” show – was to create a rig that could be used to light a hardstyle evening on the Saturday night hosted by Q-dance, so he needed to produce a flexible solution that would work for both.
The whole “Symphony” performance was divided into three parts – and the primary need was to produce a hugely dynamic range of looks – to cover all the musical genres featured in the history section, giving each one and the overall whole performance an epic edge. He needed to create a special style to match the incredible texturing and detail that came with combining the energy of electro dance beats with the richness of orchestral instruments.
On top of that, the lighting generally had to deal with practicalities like ensuring the orchestra could see the conductor at all times and had sufficient light to read their music … but not so much that they were irritated! Having said that, Metropole Orkest are known for their left-field and out-of-the- box projects! Just to ramp up the pressure that bit more for everyone on the production … the event was live-streamed via Hardwell’s website … so that was another major concern for lighting.
The sixty-three Robe Spiiders were all rigged on the over-stage triangular trusses where they were ideal for top and back light on the orchestra. There was a substantial 18 metres of trim on these, but the Spiiders provided plenty of power and intensity to light the stage and the orchestra effectively and bring fabulous colouring, immersion and depth to the picture.
The triangles making up the flown pyramid were outlined with Robe Pointes, with the balance of the 115 Pointes – in total – dotted around the other trusses. The Pointe has been a staple of Andre’s designs since it was first launched 5 years ago – and he is one of the top designers who has helped establish the fixture as an industry standard for lighting dance events. As usual, it was selected for its multifunctionality, speed, small size and the sheer scope and variety of looks that you can get out of this little luminaire.
BMFL Washbeams and Blades
In addition to these Robe fixtures, Andre positioned eight BMFL WashBeams each side of the stage on the Ziggo Dome balcony ring to augment the options on orchestra cross lighting. These are positions regularly utilized for getting a good layer of light onto the stage. The high lumen punch of the BMFL WashBeam made it ideal.
Topping off the Robe line-up for this show were sixteen BMFL Blades, used to key light Hardwell, the conductor and the orchestra itself. Lighting equipment – which also included other profile moving lights, lots of LED strobes and the LED battens on the triangular sculpture – was all supplied by rental company Phlippo, with Virtue Projects taking care of the lighting technical production and support for all the 2018 ADE associated events taking place in the Ziggo Dome. The main challenges for lighting were in the programming and the LED mapping, the latter was completed via media server, which was run by Andre together with the camera and key lighting, while Jaap ran the main show lighting, both using grandMA2 full size consoles.
They used a combination of timecode and manual operation. All the basic ‘building block’ looks were timecode triggered – with signal received from the DJ mixer – with all the fine tuning, accents, details and specifics run live – manually – on the night; a process that required plenty of quick thinking, rhythmic fluidity and improvisational skills. Hardwell and Metropole Orkest spent time together rehearsing in the studio, so while the lighting team had constantly updated versions of the music for their programming, they only had one full live rehearsal at the venue on the afternoon prior to the show.
Expertise and talents
So, it was down to everyone’s expertise and talents to pull off this amazing show which ran for two hours and highlighted the creativity and great music of influencers, innovators, and rhythm warriors taking the infectious beat and vibe of dance music from its underground roots through to the superclubs. Video equipment was supplied by Faber, with content and control by Eyesupply, and the event’s technical production was delivered by Backbone international.
2018 is just vanishing away in a yellow (… jackets? 100 % french joke) sunset, yellow like a planet still warming up, or yellow-blond like a dull hair cut disliking Santa Claus, and already 2019 is lighting up in a soft magenta, dawn of a thousand promises. So pick up your Leatherman, put on your PPE and turn on the music! SoundLightUp wishes you a happy new year, and 3, 2 ,1 ! Blackout and cue 1, go!
Climb up the hills, go for the impossible, reach for the stars and don’t forget that you’ll go faster on your own, but further if together. SoundLightUp will be with you 365 days a year, and now full speed ahead in english, as a contradiction to the motto « There ain’t no such thing as a free lunch ».
We are and will stay as ever, and against all odds, 100 % free, bilingual, professional, free and close to your trade for a seventh year of even more complete information and easy access, wherever you connect from.
We wish all of you a happy and colorful new year, and now 3, 2 ,1 ! Blackout and cue 1, go!
The first European presentation of the Mac Allure occured at Paris JTSE exhbition end of November 2018. In a dedicated Martin booth, their French distributor Algam Entreprises – who took over Martin’s french distribution a year ago and built a team to fully support the brand – hosted demoes and hands-on tests supervised by Markus Klüsener, Martin Pro Product Manager. Boldly designed as a totally new game on its own, the Mac Allure doesn’t play alongside actual moving head competitors at all. Simultaneously FX projector, compact Spot, and led matrix, the Martin newborn is above all the first of a new family of multibeam projectors boarding the P3 system. A (re-)birth shot by the SoundLightUp camera down below.
With a french-sounding name (several meanings here : pace, speed, or sheer class), very chic and fashionable these days, the Mac Allure looks like a crossover between a Quantum Profile and a Mac Encore : sharp line, compact body, and led technology.
The Martin series is recognizable at first sight, showing its muscles, but with a specific array of small holes on the back for heat dissipation of the led engine.
Its very peculiar led source makes its inventors very proud indeed: an array of 7 RGBW 60 W leds, arranged in a cluster, propelled by optics and lenses inspired by the Quantum Profile. The main feature of the Mac Allure is a certainly limited 12 to 36° zoom, but reaching an incredible focussed image of the 7 led engines. Hence, by just playing with the zoom and focus channels, the Mac Allure completely changes its style indeed. It goes from a standard Spot beam, appropriate for gobos and prisms combinations, to a matrix projection of its 7 led zones to emulate a video-like pixelation, and then a “Flower” effect while adjusting the focus on the led array. The 5,000 lumens of the luminous flux predicted by the manufacturer, with a weak CRI of 70, categorise the Mac Allure in the compact projectors category, which seems to suit it well enough.
Martin is actually a mix of 2 types of projectors, led matrix and Spot effect.
RGBW mix for each of led segment, color temperature control from 2700K to 6500K, virtual color wheel and multicolor macros, the combination of the 7 leds in 6 circular zones plus a central one allow infinite and yet uncharted universes of colored fantasia. The downside of this system is the plain white projection turning into an expressionist blurred cloud with hues of pink and green. The definitive version of the Mac Allure will provide a custom calibration and frost filter to correct that.
The Mac Allure ergonomics is well considered, with large yellow blockings and carrying handles.
As a welcome addition, the optical modules act as solid teammates. Apart from the 4-facet prism, the iris, the shutter, and the 6 rotating gobos wheel, the Mac Allure provides 2 new skills. Between animation wheel and effects wheels, the 2 superimposed gobo wheels allow multiple morphing projections. The first one combines “Glass” type figures and a set of blades, while the second one uses reversed vortex. This way, mixing the effects of focussing, colors and optics, the Mac Allure beam multiplies in numerous chromatic kaleidoscopes.
The projector cools down its led source by a combination of passive cooling and active air flow thanks to 4 fans placed at the rear. Thanks to this system, the Mac Allure remains compact, less than 18 kg and 60 cm high, quite noiseless while keeping its internal temperature down, with easy handling, in particular with the rear handle.
On the connectors’side, everything is goes by pair: DMX 5-pin XLR in/thru, RJ45, and True1 mains in/thru. The menu display is close to a USB port for P3 updates.
Culmination of all theses functions, a world premiere is the implementation of the P3 protocol inside a moving head. This way, while controlling the projector in 32 or 64 DMX512 channels, the Mac Allure can receive simultaneously via its Ethernet connectors brightness and colors data by video signals sent to all the P3 items connected. This means the Mac Allure can be part of a global mapping set-up alongside Martin led screens and video screens, and simultaneously be part of a DMX set-up. The Mac allure will be available early march 2019 from your usual Martin Professional distributor.
The P3-System
The P3-System is part of the new Martin team, in which all future products will include this protocol : the up and coming Martin by Harman Mac Aura Allure and its 19 led pixels and the Mac Allure Wash, with PC lens, dedicated to color washes.
As a reminder, the P3 is a unique protocol designed by Martin to easily interface DMX and video. This system is already included in the VDO Sceptron and the VC-Strip, to quote the most popular “P3 inside” products. It’s actually a “fixture-mapper” for Martin fixtures, with enhanced possibilities, not only video feeds ta a matrix, but also calibration of remote control of projectors.
Schematics of a complete installation using projectors and led fixtures in the same global set-up, controlled by a lighting console and a media server.
This can be driven by a P3 controller, such as models P3-050, P3-150, P3-300 or P3-PC, with features depending of number of pixels and available video inputs. For some projectors, the additional P3 PowerPort, power supply rack and data processor, is used for the Martin video Creative LED range : VDO Sceptron, PixLines, VC-Grid, Strip & Dot. These different products are linked together by special 4 pin cables.
Example of a Martin show for French distributor Algam Entreprises, using a GrandMA2 to control the projectors, and an Arkaos media server. The video from the Arkaos are then mapped by the P3 to the Mac Allure fixtures and the VDO-Fatron and VDO-Dotron.
The main advantage of this ecosystem is pure flicker-free and coherent operation for the whole kit of projectors, as the initial design of the P3 continuously calibrates all the elements in the P3 chain to maintain global and total evenness and sync. To sum up, the P3 protocol allows creating a unique canvas grouping led projectors, video walls and intelligent lighting projectors, and then use the video as both effect and lighting source for all the fixtures.
The P3-System functions have evolved a lot since its launch, with the opportunity of using a second unit in parallel for real-time back-up or designing a mobile scenery with no hassle. The Kinesys moving trusses can send back their indexed positions directly into the P3, and the video feed will adapt to the new positions of the projectors.
At this moment, the projectors can be mapped in 1:1 mode (all pixels equal in size) or Real World (size closer to the projectors), but the next update will allow a step further with a Scaling tool, and presumably en extra Z parameter in pixel positioning. Finally, to compensate for the slight jerkiness of the videos transitions in the Mac Allure, a Smooth Change option will be included.
ELP profile spots
The warm white profile spot equipped with 26° optics.
Martin unveils for the first time in its history a led profile spot, in two models: ELP WW and ELP CL. The profile spot named ELP WW stands for Warm White and is equipped with a white led source, with yet unknown references and specs. It should deliver 7,000 lumens @ 3000K, with a CRI of 97.
The ELP CL contains a RGBAL (red, green, blue, amber and lime) led source and boasts a luminous flux of 6,900 lumens @ 6000K in High Output mode (CRI of 85), or 5,900 lumens in High Quality mode (CRI of 90). The available 19°, 26°, 36° or 50° optics are designed in Denmark for a maximum light output and even beam, without hot spot.
Here are their specifications:
16 bits dimmer with a choice of 4 intensity curves.
26 color presets, Lee Filters and Rosco equivalent, for the ELP CL.
« Fine focus » adjustment knob on the upper part.
Fast Focus function for manual adjustment of intensity (direct to 100 % level if “Enter” touch button pressed for more than 5 seconds).
Tilt tightening handle positioned slightly apart to give the blades more space.
Gravity center on yoke alignment.
Anti-glare correction to prevent yellow or bleu halo around the beam.
Flicker-free guaranteed light beam.
Instant electronic strobe.
Fait weight, less than 10 kg.
They will be available end of 2018, you may ask your Martin distributor.
All the ELP profile spot specifications in one figure.
Powersoft S.p.A., a global leading manufacturer of energy efficient, high-power compact amplifiers, is set to commence the public trading of it shares on the AIM Italia (Alternative Investment Market), organised and managed by Borsa Italiana. This bold decision has been made to facilitate further progress on Powersoft’s already exponential growth, which has occurred consistently since its inception in 1995. The move will also allow Powersoft to not only continue but intensify its already impressive R&D activities.
Powersoft’s CEO Luca Lastrucci commented: “We have enjoyed great success in the last few years, which has been evidenced by the significant advances we have made over the last two decades, both technologically and territorially. In order to take the next step forward, we have decided to open ourselves up to a wider world. This will, in turn, give us more capital to maintain our strong focus on R&D, which has been a key growth driver for this company since the beginning.”
Pioneer in switched-mode technology
A pioneer in switched-mode technology, Powersoft has made Class-D a reliable and effective reality, improving its performances to a level unheard of before and making it widely accepted as industry standard. The company has also introduced other major patented technologies that increased the efficiency of its amplifiers, such as Pulse Width Modulation (PWM), Power Factor Correction (PFC), Differential Pressure Control (DPC) and Smart Rails Management (SRM) to name a few.
Green Audio Power design philosophy
All these technologies, aimed at improving efficiency, and consequently reducing power consumption while expanding capabilities, are part of Powersoft’s Green Audio Power design philosophy. With this kind of approach Powersoft contributes to environmental sustainability, thanks to smaller, lighter and more efficient amplifiers.
Latrucci added: “As well as continuing to break new ground with our world class amplifiers, the listing will also allow Powersoft to keep its place as a global leader in the provision of OEM solutions for some of the industry’s leading loudspeaker manufacturers. We are very excited about the new opportunities this move is opening up for both Powersoft and our customers, and we look forward to maintaining the high standards that we have become known for over 23 years.”
The two sets of Powersoft shares – ordinary shares and Warrants – began mid December 2018.
Recently restored to its former beauty, the architectural treasure of Frankfurt old town was opened in September with a cultural program that included a unique nighttime drone show supported by lighting effects from 88 Elation Proteus Hybrid™ moving head fixtures. Prior to 1944, Frankfurt had one of the most beautiful and largest medieval half-timbered old towns in Germany.
Drones constellations
The highlight of the three-day celebration was a spectacular production in which drones drew constellations of light in the Frankfurt sky accompanied by a visually stunning light show over the river Main. bright! GmbH was responsible for the concept and technical implementation of the production, as well as the programming of the drone show. Michael Giegerich, one of the managing directors of bright! GmbH and project manager for the constellations, developed the show concept along with Lighting Director Daniel Gündner. Both worked under the artistic direction of Atelier Markgraph.
Weather-proof
It quickly became clear to those involved that the project required weather-proof lighting fixtures. “We were looking for an IP floodlight that combines the best possible beam characteristics with the simplest, most robust design,” explains Thomas Giegerich, managing director of bright! “Having worked with A&O Technology and Jerry Appelt on the 2017/18 New Year’s Eve show in Dubai, where hundreds of Elation Proteus Hybrids were used, we were very familiar with these moving lights and knew we could use them.”
The Proteus light show was designed to support the drone show over the Main as an additional visual effect yet not steal the show. Thomas Giegerich comments: “Of course the beams were not allowed to overwhelm the drone show. Rather, it was about creating an additional layer of light in the space to provide the actors – the drones – with an appropriate stage.”
44 Proteus per bank
The bright! team placed 88 Proteus Hybrids as powerful beam elements on both sides of the river, 44 per bank, with fourteen 15W LED pars placed at ground level to act as backlight. “The Proteus Hybrid was fully convincing. Its enormous output paired with its robustness makes it the ideal choice for any demanding outdoor event,” Thomas Giegerich concludes.
Two of the biggest acts in music today, Drake and Migos, toured North America throughout the second half of 2018 on the highly-anticipated Aubrey and the Three Migos co-headlining run. Of course, a massive tour with a pair of massive headliners calls for a massive production, and neither Drake nor Migos rose to the top of the game by disappointing their fans.
Boxing ring-style stage
The trek boasted a sizeable boxing ring-style stage covered entirely in LED video panels that displayed some truly spectacular custom content. To ensure that the sonic experience was of the same calibre, the tour featured a substantial 360-degree audio system comprised of over 250 cabinets from Adamson Systems Engineering’s flagship E-Series and S-Series, all sourced through Cleveland, Ohio’s Eighth Day Sound.
“I love it,” says Drake’s FOH engineer, Demetrius Moore, about the Adamson system under his control. “The high-end is very natural, crisp, and clean, and you really can’t ask for a better low end. It sounds big, it sounds powerful, but it doesn’t hurt, and that’s always the goal – a big, clean sound that’s not just there to blow people away with everything in the red.”
Moore consulted with Adamson’s Director of R&D, Benoit Cabot, and Product Manager and Senior Applications Engineer, Brian Fraser, plus Eighth Day system tech Chris Fischer to develop an initial system design.
The final configuration featured: four main hangs of 18 E15 three-way, true line source enclosures firing behind the goal ends of the arena floor; four side hangs of 12 S10 two-way, full range cabinets below four S10ns, which boast the same specs as the S10 save for a narrower dispersion of 80 x 10 degrees instead of 110 x 10; and four 270-degree hangs featuring 15 E15s atop four S10s. Only 10 Adamson IS7p point-source front fills were required for any given date thanks to the arrays’ extensive coverage.
Because the stage is comprised entirely of video panels, the system needed to be as unobtrusive as possible. That informed the decision to fly the E119 subs in eight hangs of nine cabinets.
“We’re on a tour – a hip-hop tour – with no subs on the ground. That’s pretty much unheard of,” says the man who’s also mixed genre staples Lil Wayne and Nikki Minaj from FOH. “Whether you’re standing front-row or up at the back, you’re getting nice, clean, but still high-impact bass. With any other system, we wouldn’t have been able to do what we’re doing with all of the subs in the air. Other brands have subs you can fly, but here, the subs I’d be using on the ground, we’ve got in the air, and they go up without issue. You couldn’t do that with another system at this level.”
The sheer number of cabinets going into the air makes Fischer particularly glad that they’re using Adamson. “It’s a nice-sounding system, and the rigging is just incredible – it goes up and comes down so easily,” he says. “It’s just one move and the cart’s off.” He’s also getting good mileage out of the company’s Blueprint AV system design and simulation software. “I think Blueprint is much easier to use than other programs I’ve had in the past when it comes to analyzing the room and fine-tuning the system deployment.”
The reviews throughout the run have been stellar, but more importantly, the social media buzz from ticketholders was beyond reproach, and it was fairly common for the crowd noise to hit 110dB at FOH in anticipation of the show. “The crowd is really into it every night, and they’re getting loud,” Moore said near the end of the tour. “We know who and what they’re there to see, and we’re just making sure that the show sounds as good as it possibly can to deliver that experience.”
Philips Vari-Lite VLZ Profile LED luminaires were chosen to meet some specific stage lighting demands on the recent Savage tour by British electronic music pioneer, Gary Numan. For special tour dates, including a showcase performance at London’s Royal Albert Hall, Numan and his band were joined on stage by an orchestra and choir.
Post-apocalyptic theme
In response to this, the visual design, by Luke Edwards of Cue Design, successfully referenced the post-apocalyptic theme of the Savage album, while combining softer theatrical touches to complement the orchestra’s presence, both on the stage and in the music.
“To light the orchestra, we needed fixtures with a really nice light quality,” said Edwards, “but with so many tunable instruments on the stage we also needed lights that wouldn’t throw out lots of heat. The VLZ Profile was a great option: the optics are beautiful, the colors and the color temperature are beautiful, and it keeps the orchestra members and their instruments cool.”
Placed on high side-trusses at each side of stage, the VLZ Profiles gave side-light, color and texture for the orchestra and choir in the upstage area, as well as for Numan and the band downstage. “Mostly, we’re using the gobos and prisms to put textured light on the orchestra, to light them in an interesting way,” said Edwards. “But I’m also using the VLZs a lot in open color, just frosting it slightly to soften the light and get everyone lit really beautifully.”
In covering such a broad stage area, Edwards was aided by the powerful output of the VLZ Profile as well as its wide zoom range. “Being able to light that big a surface area with a minimum amount of fixtures, with that zoom range, is a big plus,” he said. “I can point them forward and have these tight beams coming from the side trusses, or they can go extremely wide. They’re amazing fixtures to have on the show.”
What we like
What we don’t like
Powersoft’s CEO Luca Lastrucci commented: “We have enjoyed great success in the last few years, which has been evidenced by the significant advances we have made over the last two decades, both technologically and territorially. In order to take the next step forward, we have decided to open ourselves up to a wider world. This will, in turn, give us more capital to maintain our strong focus on R&D, which has been a key growth driver for this company since the beginning.”
