As soon as Nashville-based Premier Global Production took delivery of 26 Ghibli fixtures, Ayrton’s first LED spot luminaire with a factory-equipped framing system, they quickly sent them on tour with country music singer/songwriter Brett Eldredge The Long Way Tour is Eldredge’s first headlining tour, in support of his latest single of the same name, the first leg of which kicked off in April.
Premier Global Production, which provides lighting and staging equipment to some of the biggest musical acts in the world, obtained the units from ACT Lighting, Inc., Ayrton’s exclusive North American distributor, having already had 60 Ayrton MagicBlade fixtures in its inventory prior to purchasing Ayrton Ghibli.

Ghibli delivers a light output of 23,000 lumens in a compact format. Its proprietary optical system produces a uniform fat beam with no hot spot. Ghibli’s selection of gobos and colours was made in collaboration with lighting designers to meet the needs of the entertainment industry.

Lighting Designer Nick Whitehouse, one of seven partners in Fireplay, explains the storytelling scenario of the show. “Another of our partners, Kelly Sticksel, was Production and Show Designer for the tour. He took the lead in creating the different seasons of Brett, each showing a different side of Brett’s personality. The narrative is fun and engaging for the audience, and the videowall backgrounds and the props placed in front of them help define the various moods and environments.”

The goal was to design “theatrical-style lighting that would highlight the video set and props then take you into an almost pop music show,” Whitehouse says. He also had to consider the tour’s budget, size and the long-term efficiency and servicing of the equipment.
“One of the production manager’s stipulations for lighting gear was reliability and easy servicing,” he reports. “He insisted we find LEDS that would do the job. But I wasn’t happy with the LED profiles I’d used, so I asked ACT Lighting if they had anything new.
They showed me the Ghibli and put it up against other lights, and I was really impressed. I really like Ayrton products and quality. Ghibli was a nice size and weight; it was a LED source that kept up with the brightness of a 1200W fixture, and the beam looked great too.”

Twenty-three of the Ghibli units on tour are active fixtures and three are back ups. “They act as spot fixtures for theatrical lighting on the set, Brett and the band, and they deliver effects – including aerial big-beam looks – and textures on the stage. They’re real workhorses,” says Whitehouse.

According to Mike Marcario, a Lighting Designer and Programmer who serves as the Board Operator for the tour, six Ghibli fixtures hang in the upstage truss and seven in the midstage truss. Six T-bars hanging off the upstage truss at different lengths have a Ghibli unit at the bottom of each pipe.
Downstage left and right are floor-mounted stick truss each with two Ghibli fixtures inside. “I’m very impressed by the fact that for the first leg of the tour we left with 23 fixtures and came back with the same 23,” says Marcario.

“We had no need of the spares. That’s a testament to the reliability of Ayrton. I hope to use Ghibli in future lighting designs that I’m part of.” “The end results have been fantastic – I’m really happy with the Ghiblis,” says Whitehouse. “I’ll absolutely use them again.”

“We’re pleased with the Ghiblis,” says Dominic Smith, Lighting Designer and Programmer for the tour and also Creative Director at London’s Neon Black. “Ghibli is a perfect fit for theatres and small arenas. It stands up well against discharge sources.
Its flat field is beautiful, it renders colour very well, it doesn’t want for brightness and it focuses well. It also has nice sharp gobos and a good selection of break ups. It offers all the tools you need in a moving spot.”

Eldredge’s The Long Way Tour resumed in June and will play dates in the US and Canada through October. ACT Lighting, Inc. is the exclusive distributor of Ayrton lighting in North America.
More information on Ghibli, including a video presentation, and the extensive portfolio of Ayrton LED fixtures can be found at Ayrton website.

Young Danish singer, guitarist and chart-topping rising star Jacob Dinesen played two spectacular arena shows to kick off his 2018 summer tour, one in his home region of Aabenraa and one in Copenhagen … with Robe MegaPointes and Spiiders prominent on the rig! Lighting for these two shows was a completely new design, also programmed and operated by LD Niller Bjerrgaard.

Niller had only just joined the Dinesen production team for these shows after being recommended by FOH sound engineer Mad Mikkelsen – the two also work for high profile DK heavy metal heroes Volbeat. In fact four of the crew are involved on the production of both artists, and although Dinesen’s material is somewhat lighter … the vibe is solidly and most definitely rock!

Niller took on the Dinesen project with a skeleton design already in place created by Jacob Beckman. He discussed this with the band and their production manager Jonathan Koch, added in some of his own ideas and the resulting rig and brief was to create a big expressive rock rig, which was perfect for Niller’s current visual mind-set!
“I wanted the style and feel of the show to be a bit raw and improvisational, so I constructed the lightshow using a combination of cue lists and live busking pages which enabled me to combine the two MOs,” explained Niller.

Some of the 30 x MegaPointes and 20 x Spiiders at the centre of the rig were actually already specified by Jacob Beckman, however when Niller took over the project, he added some extra fixtures and was very happy to work with both of these Robe products for the first time!

The initial idea had been to have PAR cans on the ladders, but this was changed to the Spiiders, which was ‘ the right move” says Niller. They also moved some of the trussing around to give it a more rocky and attitudinal look and added more LED products. The MegaPointes and Spiiders were purchased new for the tour by rental company Vigso.

Niller commented, “Right now MegaPointes and Spiiders are the most popular fixtures appearing on the specs and riders in Denmark, so it was a great opportunity for me to get to know them a little better!” The MegaPointes were positioned on the four roof trusses – three of which were straight with the back one curved to accommodate a wide backdrop and add structural dynamics to the picture. Eight of the Spiiders were on the trusses with another 12 on six upstage vertical ladders which flanked a portrait LED screen in the centre.

Also on the ladders were Elidy LED panels, used sparingly for maximum impact, adding a touch of tungsten. He also had a few other moving lights, some LED strobe / flood fixtures for blinding and bumping and a bunch of 2-lite Moles.
Niller was well “Impressed” with both MegaPointes and Spiiders. “I have used many, many fixtures in my work and this is the first time I have really had the chance to discover what these can do,” he stated. He thinks the Spiider is “a great wash light” and “loves” the flower effects which he optimised in these Dinesen shows.
“There are so many possibilities,” he says. He has used a competitor brand of wash beam frequently in the past but, on the upcoming Volbeat summer tour, that’s now been changed to 36 x Spiiders, 32 x MegaPointes and 12 x BMFLs which will be used with a remote follow spotting system.

He appreciates the brightness of the MegaPointe “even with a saturated colour or a gobo in the light path they are still literally ‘mega’ bright” he enthused, adding that the movement is stable and “super-smooth” for the slower and more subtle shifts and tempo changes as well as all the high speed effects.
Niller operated these shows in Aabenraa Arena and Copenhagen Forum using his own ChamSys MQ500 Stadium console. On these two Jacob Dinesen shows, he worked alongside lighting crew chief Martin Jepsen and Niels Stenger from Vigso.

More information on the Robe website

Best-selling hip-hop artist Post Malone recently wrapped up the North American leg of his 2018 tour in support of his latest album, Beerbongs and Bentleys, which broke streaming records on Spotify the day it was released and zoomed to the top of the Billboard Hot 200.
The 26-city tour of mixed arenas and outdoor sheds was supported by a massive Meyer Sound LEO® Family reinforcement system supplied by VER Tour Sound.

Post Malone

”The LEO system is a beast,” states FOH engineer Joe Hellow, who has extensive studio experience as well as touring credits with Big Sean, Tyga and Miguel. ”This kind of power could be scary for some engineers just starting out, who might be intimidated about keeping control of such a powerful box.
But working with VER I’m backed by great system techs who give me the tools and the confidence to make it happen. I’m really happy with the results on this tour, and everybody has raved about the sound.”

Though system configurations vary somewhat by venue type, with larger arenas and outdoor sheds the main front hangs are — per side — 14 LEO line array loudspeakers over four LYON™-W wide coverage loudspeakers. Outfills per side are six LYON-M line array loudspeakers over six LYON-W, front fills are eight LEOPARD™ loudspeakers, and four UPJ-1P loudspeakers are available for utility fill. Chest-slamming bass is supplied by a total of 30 1100-LFC low frequency control elements: 12 flown and 18 ground-stacked.

A « light » version of the main hangs. 10 Leo, 4 Lyon-W and 6 subs 1100-LFC per side.

”The 1100 is a monster that is rounded and thick,” says Hellow, ”and it doesn’t interfere with my mix. I use the flown subs to keep a linear sound, then I use the ground subs as an effect to just wrap around your body. You can actually feel your shorts moving. In some venues I have to reach for the sub master and pull it down because it’s so massive.”

Beware of your shorts facing such -fans-. They’re falling down ;0)

Production manager Dennis Danneels has been impressed — and gratified — by the throw distance of the main arrays. ”The LEO/LYON rig is one that just doesn’t stop,” he observes. ”It always seems to have more power in the tank. We’ve had some challenging sheds with house delays that haven’t been updated to today’s demands, but we had enough extra horsepower from our own stacks to pick up the slack.”

Post Malone happy enough to fly behind a Leopard !

Danneels also credits the Meyer Sound system and the VER crew for keeping the tour running like clockwork despite the varied venue sizes and configurations. ”In today’s touring market we’re seeing more inconsistencies in the venues on a run, so you need to adapt quickly.

The LEO Family PA has met those challenges, and VER has some great young talent in their dugout, with great skill sets and work ethic. I’ve begun to call them ‘the future’ on this tour.”
Summing up his experience, FOH engineer Hellow concludes, ”I’ve mixed on every modern-day system out there, and now when I go on the road Meyer is first on my rider.”

The VER audio crew was headed by systems engineer Kevin Valind, aided by PA techs Justin Stiepleman and Colten Mortensen. Under the direction of account manager Jeff Priepot, VER supplied a turnkey package that also included lighting and video.
The Post Malone team was filled out by monitor engineer Blair Bondy and tour manager Kurt Kuehn. Creative direction was by Bobby Greenleaf, an associate of the artist’s manager, Dre London.

The front end of the Post Malone tour was anchored by a DiGiCo SD10 paired with a fully-loaded Waves SoundGrid server. Vocal microphone for Post Malone was a Shure Axient digital wireless topped by a DPA d:facto capsule, with vocal processing via a Rupert Neve Designs Shelford channel strip.

Left to Right: Dennis Danneels, Kevin Valind, Blair Bondy, Joe Hellow, Willie Linton, Kurt Kuehn; Top: Colten Mortensen, Justin Stiepleman.

More information on the Meyer Sound website and on the VER website

Integrated Systems Events, the producers of the Integrated Systems Europe exhibition, has announced that its 2021 editionwill be held at Gran Via, part of the Fira de Barcelona exhibition complex in Spain on 2-5 February, To give the exhibition a chance to grow.
The new venue will become the permanent location for the world’s largest AV and systems integration show.

The decision to relocate the ISE exhibition comes after 18 months of research into the viability of remaining at the RAI Amsterdam. With annual growth in ISE exhibitors and attendees approaching 10%, and the international AV market forecast to grow by 5% per annum through to 2021, it was concluded that ISE was outgrowing its popular Amsterdam location.
ISE 2018 attracted 80,923 attendees, of which 22,000 were visiting the show for the first time while 1,296 exhibitors filled 53,000 net sqm of floor space in 15 halls. ISE 2019 is expected to increase on these record breaking figures.

Mike Blackman, Managing Director Integrated Systems Events, commented: “The RAI and Amsterdam have provided a fantastic location, been great partners and contributed to the success of the show. But, demand from exhibitors, and the continued increase in the numbers of attendees, showed us that limited floor space was in danger of putting a brake on the show’s development. In spite of all our best efforts this was not an issue we felt could be solved by staying at the RAI Amsterdam.
“We conducted extensive exhibitor and attendee research and visited many major exhibition centres in Europe before making this important decision. By announcing our move to one of Europe’s largest and most prestigious convention complexes, we can now continue to focus on creating a unique experience for everyone and confidently plan for long-term development.
At the same time, we will ensure that the remaining two editions of ISE at the RAI Amsterdam are the best in its illustrious history and a fitting way to bring our 14-year relationship with the venue and city to a close.”

The Fira de Barcelona is one of Europe’s most prestigious convention and conference locations. The complex has two exhibition venues and hosts 140 international trade shows each year, featuring over 30,000 exhibitors and attracting over two million attendees. In total it has over 400,000 sqm of floor space and 14 halls.

Gran Via is one of Europe’s largest and most modern exhibition venues. It blends outstanding architecture with exceptional functionality across 8 halls and 200,000 sqm of exhibition floor space. It also offers unparalleled visitor flow and state-of-the art services and logistics. It is conveniently placed for access to the nearby international airport and public transport.

Fira is one of the Europe’s leading trade fair organisations and is closely linked to the Barcelona brand, a city with over a century of trade fair tradition. Its annual economic contribution to the city of Barcelona and its surroundings is estimated at over €2,600 million. Fira is a consortium comprising the Barcelona City Council, the Catalan Generalitat and the Barcelona Chamber of Commerce, which combines public ownership with autonomous company management.

Both, the ISE 2019 and 2020 editions will take place at the RAI Amsterdam and are forecast to be the largest and most successful in the show’s 16-year history.

Further information on the move to Barcelona for exhibitors and attendees will be available from a live webcast, hosted on the ISE website at 13:00 CET on Thursday 19th July.
Join us to find out more about ISE’s exciting plans for future growth.

The Sage Gateshead as seen from the river Tyne.

One of the most unusual deployments of 40 RCF’s active HDL 6-A line array compact speakers has taken place at Sage Gateshead in Newcastle to coincide with the Great Exhibition of the North.
The installation of these compact elements was sensitively carried out by RCF partner Nitelites, to contour the curvilinear glass and stainless superstructure of the magnificent building. Its purpose is to reproduce a unique and newly commissioned work by Sheffield-based ‘sound sculptor’ Mark Fell, called Protomusic #1.

Half of the HDL 6-A, the little black narrow rectangles visible on top of the glazing frames.

The installation was carried out in just three days and involves bespoke mounting bracketry, manufactured in house by Nitelites, so that each speaker can be optimised at the correct tilt angle, while remaining discreet.
Fell’s soundscape of real world sounds that represent the north of England, have been reproduced by 60 traditional instruments from around the world by Royal Northern Sinfonia, as well as non-professional players and independent musicians, in what amounts to three hours’ worth of material, recorded over a two-month period.

The bespoke mounting bracketry, manufactured by Nitelites, sets the correct tilt angle, while remaining discreet.

Sage Gateshead already enjoys a close relationship with RCF as Nitelites have previously installed flagship RCF systems in their two main rooms. The venue is now exclusively an RCF house.

The soundscape plays using a non-repetitive algorithm at low-level from 10am-9pm daily, with each of the 40 speakers receiving its own independent feed.
At the end of the exhibition, a quantity of the HDL 6-A will be returned to Nitelites’ hire inventory while Sage Gateshead will take ownership and repurpose the remainder. Said their Technical Manager, Clair Willis, “We have a number of halls in which we stage events and the PA is receiving positive feedback. It was based on this experience that I suggested the use of RCF within this project.”

Tracing the background to the commission, Willis said, “With the opening of the Exhibition, the organisation had wanted something to animate the concourse and Mark’s idea was selected by the programming team as the immersive experience it wanted.”

Nitelites’ project manager Ed Gamble said, “To convince Mark about the merits of the HDL 6-A we shipped him a unit to try out.”

Mark Fell picks up the story of his latest excursion into psychoacoustics and his love affair with the HDL 6-A. “Within about 15 minutes of setting up the speaker in my studio and playing different sounds through it I knew that it was exactly what I needed.

Two neodymium 6’’ woofers, a 1,7’’ voice coil neodymium compression driver, FIR processing, 1400 W two-way amplification and a wopping 131 dB max SPL, that’s the HDL 6-A.

“When I arrived on site at Sage Gateshead and considered its spatial and sonic characteristics, I could see it was a particularly complex and challenging acoustic environment, with hard surfaces that there was no point fighting against.
I knew that this project needed a great deal of care and forethought, which was why finding the right speaker unit was so imperative.”

In fact the results surpassed his expectations, he said. “It displayed a stunning level of controllability, clarity and detail. This allowed me to work with an exceptional level of precision within the space, turning what seemed like challenges into creative opportunities. Basically I was overjoyed with the results: the team at Nitelites were meticulous in their planning and execution and I was very impressed with the HDL-6A’s performance.”

From an installation perspective he said, “From the floor of Sage Gateshead it looked amazing — a super neat job. PA companies often have an approach to cable management that I find aesthetically challenging so this was a very different experience.”

A shot a bit distorted but showing most of the speakers inside the concourse.

Nitelites project manager Ed Gamble also added that the speaker’s 100° x 10° vertical coverage was perfect for the project, focusing the sound on the listener. “Because of the control pattern, HDL 6-A provides a seamless audio experience from area to area along the concourse.
The other benefits of using the HDL 6-A are the weight and size, which are incredible.” Mark Fell also invited participation from the public. He made an iPhone and Android app whereby users could record sound, images and add text and this was automatically sent to his server.

In conclusion, the artist says, “I’m really happy with the work, it was a new experience for me to work with so many musicians and that was a great part of the process. Without doubt the HDL6-A enclosures delivered the level of sonic quality that I had hoped for. I’m super happy because I like sonic detail and clarity, and the speakers delivered that.”

The Great Exhibition of the North is run by the NewcastleGateshead Initiative and will run for 80 days until September 9. It is expected to bring a £184 million boost to the North East’s economy.

More information on the RCF website and on the Nitelites website

Marc Carolan has been Muse’s sound engineer for sixteen years. In Australia, JPJ Audio supplied their new d&b GSL System for the tour, the first time that Marc had used the System. “At the beginning of the world tour when we played in the round, we used a mixture of d&b J-Series and V-Series,” he said.

“So to use the GSL System was very exciting. Of course using something for the first time there’s always a sense of trepidation but with it being a d&b product, I was never really afraid. I had heard it before at a show and so I knew it was going to be good. I was happy to take the chance and I knew Bruce Johnston of JPJ Audio wouldn’t put me in a position where I was going to get shafted!”

Marc Carolan face à son XL4 et ses racks de goodies analogiques old school.

Bearing in mind that the d&b J-Series has been developing constantly for over ten years, Marc was surprised that when he first listened to the GSL System, as well as hearing the potential of what it will become, the resolution and detail was incredible.

“I use a Midas XL4 along with a Midas Pro2 as a sidecar to handle all of my automation and perversely, the newer technology with the GSL has made the analogue console even more relevant because its superior audio characteristics come even more to the fore with this system,” added Marc.
“The low end control is incredible and the noise rejection out the back makes it a killer for any outdoor concerts. I really like that it doesn’t rely on huge amounts of DSP which, to my ear, colour the sound quite a lot and become fatiguing when things are really super processed.

“Sonically it’s a big step forward and what’s even more exciting is that it’s just at the beginning of what it’s going to be able to do.” The Sydney and Melbourne shows saw GSL on the main hangs, J-Series on the side and rear hangs and the new GSL subs on the floor. Marc remarked that because the main GSL speakers are so good at low end in the air, he didn’t need to fly any subs.

“We had quite a small deployment of subs on the floor compared to what we would usually expect to have to get that impact,” he added. “That’s another big plus with this system; it’s going to save a lot on points and weight in the roof. As people’s collective knowledge of the box develops, I think you’re going to see smaller arrays flying.”

More information on the d&b website

NEXO’s flagship modular line array system, the STM Series, with supplementary GEO S12, was used for a very large house-of-worship event in the impressive US BANK Stadium in Minneapolis, USA. 50,000 people attended the free Pulse – Twin Cities show, with Reach Communications providing the 360° NEXO PA system.

Multiple headliners played the concert, including LeCrae, Hillsong and Jaberwockies. The recently-built US BANK Stadium is already known for its challenging acoustics, but, as one of the largest venues in the region, it has played host to many world-class touring artists and their engineers.
All eyes were on NEXO, to see how STM Series would perform! System deployment was in a 360° arrangement, with STM as Main, Out, Side and Delays, S12 as Rear, and M10 for frontfills. Subs were a combination of flown and stacked STM S118, as well as cardio stacked NEXO RS18.

From left to right 18 M28, 15 M46/B112 and, if you check closely beneath the last M46 box, 12 GEO S12 are visible.

Dan Brown of Reach Communications, with on-site support from NEXO’s Engineering Support specialist Val Gilbert and Yamaha Commercial Audio’s Preston Gray, had to specify the STM system according to the load-bearing factors in the stadium.

A hang made of 15x M46/B112 and 2x M28 ready to be lifted.

For main PA, the configuration use 15x STM M46/B112 main and bass sets per side, with side arrays of another 15x STM M46/B112.
Each of the hangs carried 2x STM M28 downfills. 8x STM S118 subs were flown per side, and on the ground were 12x RS18s (running in cardioid mode) and 8x STM S118s (omni) per side.

2 hangs of 12 x GEO S12 cabinets were used for the rear of the stage, and the performance and coverage of these arrays was outstanding, leaving nothing to be desired in the overlap areas between these and the 270° hangs of 18x STM M28s per side.

The system was run entirely powered by 62 x NX4x4 amplifiers over Dante, with an analog backup. System control, EQ, and delays was matrixed from 1 x LAKE LM26 and 3 x LM44.

A view of the large stadium floor. On the right the two delay towers featuring 18x STM M28s each.

“The system by far outperformed our expectations,” commented NEXO’s Val Gilbert, “although the system was appraoching its limits, no-one felt it was running out of headroom, and the engineers were globally satisfied. SPL reached 120dBA peak at FOH. Considering the extremely challenging acoustics of the venue, the overall sound was very good.”
Preston Gray from YCA admits to being “pleasantly surprised by the consistency in coverage we could achieve with a relatively small number of cabinets for one of the largest NFL stadiums in the USA. This is a testament to the power and off-axis response of the STM Series, which hit 120dBA Peak & 131dBC Peak at FOH on a calibrated NTI XL2 meter.”

The stage seen from FOH.

Further information from the Yamaha Pro Audio website and the Reach Com website

Production company PogoArt, owner of the largest NEXO PA system in Poland and a recent investor in Yamaha’s new RIVAGE PM7 digital mixing system, has helped Wroclaw Opera to stage an epic production of Giuseppe Verdi’s ‘Nabucco’.

Marcin Nałecz-Niesiołowski

The sell-out performances of one of the most recognisable operas in history was presented outdoors, with the Wroclaw Opera building itself featuring in a special stage design capable of accommodating up to 350 artists.
Wroclaw Opera is accustomed to outdoor performance, but the production of ‘Nabucco’ in Wroclaw’s central Plac Wolnosci was a most challenging one, featuring a 700 sq.metre stage with three levels for orchestra, ballet dancers, soloists and the Wroclaw Opera Choir.

Marcin Nałecz-Niesiołowski, dir of the Wroclaw Opera, who was conducting the performances, admitted that large productions are always a compromise because of the changing acoustics. Against the backdrop of the opera house, the massive 35 metre-wide stage demanded a high-performance PA system, so director Krystian Lada called upon Sławek Pogorzała of PogoArt to provide a modular line array, the NEXO STM Series, coupled with Yamaha RIVAGE PM, CL and QL Series digital consoles.

Le ballet, le décor majestueux et 12 x M28 !

“The most important issue was to achieve even coverage of the audience area, providing the highest-quality sound. STM M28 line array modules disperse over a very wide angle so this made it easy. Frontfill completed the coverage of the middle of the audience in the first rows,” says Pogorzała, owner of PogoArt.

Au premier plan la CL5 en charge du chœur, en haut de l’image, la nouvelle venue dans la famille Rivage, la PM7.

For the main PA, left and right arrays of 12x NEXO STM M28 cabinets were used, with a total of 8x NEXO CD18 18” subbass units.
The system, powered by NEXO’s proprietary NXAMP4x4 amplifiers, was set up via a Dante network, with PogoArt’s new Yamaha RIVAGE PM7 console at front-of-house, and Yamaha CL5 with R-series stageboxes to handle the choir. A pair of Yamaha QL5 consoles handled the monitor mixes.

With more than 2000 people attending each sold-out performance, expectations were high for an opera company with an international reputation. “It was vital that the system delivered the best and clearest sound to every spectator; ‘Nabucco’ is a well-known opera, so many people are very familiar with the libretto and melodies,” said Marcin Popek of LAUDA Audio, NEXO’s distributor in Poland.

“There was no doubt that this year’s production sound achieved a new standard of excellence, and this was noted in many reviews which compared it to previous events that had not had the benefit of the NEXO STM system or the Yamaha RIVAGE PM7.”

Une vue des front fills en M28, rendus encore plus indispensables par l’écartement du système principal.

Further information on the Pogoart website

AYRTON is looking for experienced, ambitious and driven regional sales managers. The ideal candidates will have experience in establishing distribution channels with a focus on the entertainment lighting market.
Knowledge of the market, excellent relationships with the major players in the region and an understanding of trends in the industry are all essential competencies for this role.

Click on the image of the ad below to access it:

Port Perry, ON (June 2018) – After much anticipation from EDM fans in the world’s most populous nation, the now-iconic Electric Daisy Carnival presented its first-ever Chinese edition from April 29-30, 2018 in Shanghai. To ensure a world-class experience befitting the festival and its headliners – including deadmau5, Martin Garrix, Hardwell, and Disclosure – every stage featured an audio solution from Adamson Systems Engineering.

Adamson E-Series system on kineticFIELD stage at EDC China 2018

The tens of thousands of fans that poured into the Shanghai International Music Park over EDC’s two-day run were treated to sets by monsters of the genre across four stages: the instantly-recognizable kineticFIELD main stage, which was shipped from overseas; the slightly smaller circuitGROUNDS; the bassPOD for low end lovers; and the Boombox Art Car. For both PA and monitoring, it was all Adamson on every stage thanks to the company’s exclusive Chinese distributor, Real Music.

Stephan Themps, FOH engineer for Martin Garrix, says that Adamson’s E-Series has become his favourite system to mix on. “Adamson delivers maximum impact every time – crystal clear with punchy bass and plenty of headroom, which is precisely what we want,” he says. “Our last experience with Adamson and Real Music at the ISY Festival was flawless, and this time, they knew exactly what we needed for a great show.”

Hardwell onstage with Adamson S-Series monitor system at EDC China 2018

The kineticFIELD system was built around Adamson’s E-Series, with the main PA comprised of 15 E15 three-way, true line source cabinets and three E12 three-way, full range cabinets per side.
The side arrays were slightly smaller, with 9 E15s and three E12s per side. Kicking out the low end were six flown E218 subwoofers per side, plus 36 E219s and 12 T21s groundstacked at the front of the stage.
Finally, Adamson’s compact S-Series was deployed for front fills and in the VIP area, as well as in the DJ booth, with stacks of three S10 two-way, full range cabinets atop two S119 subs keeping the DJs in the mix.

The circuitGROUNDS system was also anchored by the E-Series, with main arrays of 12 E15s per side and outfill arrays of six E12s per side. Bass came courtesy of eight flown E119s per side along with a complement of 36 E219s on the ground. Again, S10s were deployed for front fill and in the DJ booth atop a pair of S119 subs.

Adamson E-Series system on kineticFIELD stage at EDC China 2018

The bassPOD and Boombox stages were each built around Adamson’s S-Series, which packs the proven tour-grade performance of the E-Series into a more compact cabinet. Over the past two decades, Insomniac Events’ Electric Daisy Carnival has grown into one of the biggest music festival brands on the planet. In addition to the flagship event held every year in Las Vegas, EDC has hit major cities like Tokyo, Mexico City, Sao Paulo, and now, Shanghai.

“In the EDM world, it doesn’t get any bigger than the Electric Daisy Carnival,” begins Zhen “Richie” Wang, President of Real Music. “This lineup featured some of the biggest names in popular music, and we knew they wouldn’t settle for anything but the best. As far as we’re concerned, Adamson is the best, and we heard the same from several FOH engineers over the course of the event.”

More information on the Adamson website

As the professional entertainment lighting industry continues to seek an exemption for specialist lighting from the European Union’s Ecodesign regulation, an industry task force has said the situation is “far more positive” and “greatly improved” following the latest round of talks with the EU.

The EU Directorate-General for Energy has now passed a revised draft of the regulation, with its content expected to be revealed in a few weeks as it progresses through the committee stages of the process.
The Professional Entertainment Lighting Products Ecodesign task group – the body representing the industry during the public consultation has confirmed there will be a ‘comprehensive’ list of exempted lamp base types, but some specialist lamps used for non-entertainment purposes may not be included.

The full content of the regulation will be publicly available from November and the directive is set to become law in September 2020. A further update on Ecodesign will be given during the PLASA Show taking place at London Olympia on 16-18 September.

The industry task group comprises Adam Bennette (PLASA), Christian Allabauer (OETHG), Randell Greenlee (VPLT) & Silke Lalvani (PEARLE). It released the following statement:

“On 20 June 2018, the period of public consultation for the proposed Ecodesign regulation – that will affect lighting products of all types – expired. The EU DG Energy department has passed on a revised draft to the next stage of the legislative process.

We expect to know its content within a few weeks as it progresses through the committee stages of the process of turning it into a law. Although much still remains to be known, the situation now is far more positive than many had feared and greatly improved since our public meetings earlier this year.

“Our petitioning team made a clear case for exemptions for our industry – including for stage, studio, film and live event purposes – and we have received strong indications that the main arguments of the case have been accepted. There will be a list of exempted lamp base types that will include many of the specialised tungsten and discharge lamps we use.

We can expect the list to be comprehensive, but we should also expect that a few types we have been using will not be exempted if they are in use for other common non-entertainment purposes. There will be an exemption for colour tunable light sources, but the details have not yet been provided.
“The text of the regulation will be published publicly in November this year and is to be enacted in law in September 2020. More specific details will be available shortly, and these will be disseminated as soon as they are confirmed. There may be more work to do and more details to clarify but, until we see the revised draft, it would be prudent to remain calm and patient.”

Signify announced that the renowned LA Opera, located in the Music Center’s Dorothy Chandler Pavilion in downtown Los Angeles has invested in the company’s new LED-based Vari-Lite VLZ Profile fixtures as part of its stage lighting rig.
LA Opera’s current production of Verdi’s Rigoletto, with lighting design by Robert Wierzel, is the first production in its history lit with a predominantly LED lighting rig.

©LA Opera technical department

Jeff Kleeman, LA Opera’s technical director, says, “We already hold a stock of Vari-Lite VL3500 Spots and Washes, VL3000s and VL4000 BeamWash fixtures, so we were very interested in the VLZ Profile when they became available recently.
“Initially we were drawn to the impressive output – they are bright, even brighter than our VL3500s. We’ve had zero issues with the exceptional light source, which creates a large and particularly even field. But there is so much more to like about the VLZ. The color spectrum, the shuttering system, the low power consumption, which is critical for the venue, and then there’s the very quiet operation: quiet is a big deal for us.”

©LA Opera technical department

He adds, “Our work schedule means that, although we begin the design process months in advance, it is only a week prior to load-in when we pull and prep fixtures before the get-in. There is usually a pretty tight window to rig, hang and focus the light, so the small, light VLZ fixtures make that process all the smoother. They have absolutely met our expectations.”
In 1987, LA Opera was among the first opera company to utilize a complete Vari-Lite moving light rig, using the award-winning VL2 and VL3 luminaires to light Tristan und Isolde, designed by David Hockney and directed by Jonathan Miller. The company has been a regular user of the Vari-Lite brand ever since.

Martin Palmer, Philips Vari-Lite Product Manager for Signify, says, “For an artistic organization of such prestige to commit to the VLZ Profile as part of its stage lighting rig is a great vote of confidence in the quality of our world-leading LED luminaire technology. We are delighted that LA Opera has chosen to continue its long history with the Vari-Lite brand and we look forward to working with them in the future.”

Signify became the new company name of Philips Lighting as of May 16, 2018. The legal name of Signify will be adopted across all global markets in the course of 2018-2019. Signify’s Entertainment Lighting Group comprises the Philips Vari-Lite, Philips Strand Lighting and Philips Selecon brands, as well as the Philips Showline range of LED stage luminaires.

©LA Opera technical department

More information on the Signify website

Today, major manufacturers and leaders in professional audio video (Pro AV), working together under the umbrella of Avnu Alliance, announce Milan, the first fully realized, standards-based protocol built for deterministic, interoperable, future-proof media networking in the Pro AV market.

Milan is a user-driven protocol for professional media, providing the guarantee that all Milan devices will work together providing a greater level of convenience, reliability and functionality.
Created by leading manufacturers — including AudioScience, Avid, Biamp, d&b audiotechnik, L-Acoustics, Luminex and Meyer Sound– Milan builds on the technical benefits of the IEEE Audio Video Bridging (AVB) open standards, such as time synchronization and guaranteed quality of service, as well as risk-free coexistence of control and media data on one network.

Milan builds on these features, further defining device requirements at both the network and the application layer for compatible media streams, formats, media-clocking, redundancy and controller software. Milan certification will deliver fool-proof interoperability of deterministic networked Pro AV devices.

“After carefully considering what end users were trying to accomplish, and the challenges and risks associated with using other protocols, AVB was a natural choice for implementing a high-quality media network. We also recognize that there has been no application-layer interoperability defined above the network foundation.
This application-level interoperability is critical to delivering on the promise of AVB: simple, reliable network operation, guaranteed performance and sustainability. Milan leverages the benefits of AVB to deliver a user-driven solution for networked AV that guarantees interoperability among pro AV devices,” said Jeff Rocha, Director Product Management, L-Acoustics.

The new multifunctional P1 AVB processor and measurement platform from L-Acoustics, is one of the first products developed to be fully compliant with Avnu’s Milanprotocol.

“18 months ago we began exploring this solution, and discovered a compelling benefit to unify our vision with Milan,” added Henning Kaltheuner, Head of Business Development and Market Intelligence, d&b audiotechnik. “We knew for certain, in an industry dominated by companies that want to market products to customers, we needed to focus on the customer experience.
We aim to change the conversation around network standards to be about providing the best possible end user experience with a convenient, truly interoperable and deployable solution. We knew the only way for us to influence change in this direction was to join together to harness our collective power to move the entire industry.”

“The Milan initiative is a long-term approach to change the way the Pro AV market does AV networking. We encourage companies seeking a technically superior network, that guarantees interoperability and is not limited by the confines of proprietary products, to join us and participate in building out this ecosystem,” said John McMahon, Meyer Sound and Avnu Alliance Pro AV Segment Chair.

Supporting all types of media, Milan is an open, deterministic network protocol, ensuring on-time delivery of audio, video and data, while co-existing with other Ethernet traffic without risk of dropouts or degradation of media. As a development extension managed openly by Avnu Alliance Pro AV segment members, work is in progress to deploy a new streamlined testing and certification program from Avnu Alliance to support this new network solution for implementation by Pro AV manufacturers.

– Manufacturers interested in exploring Milan network implementation should visit the Avnu/Mila website or get in touch with [email protected].
– Milan specification documents for media clocking and formats are publicly available now at Avun/Specifications website and the specification document for redundancy will be added later this month.

To learn more about Avnu Alliance, visit the Avnu website

After hit launch of SQ-5 and SQ-6, Allen & Heath has unveiled SQ-7, the new 33 fader, 32 onboard preamps flagship console in its 96kHz SQ series. Following hot on the heels of the hit launch of SQ-5 and SQ-6, the new SQ-7 takes the same powerful XCVI 96kHz FPGA engine and adds extended control and I/O in a larger format, boasting 33 faders, 32 onboard preamps, 16 custom soft keys and 8 user-definable soft rotary controls.

SQ-7 is a 48-channel console, fully compatible with a range of remote I/O expanders, including the portable DX168 96kHz stage boxes. Inputs and mixes can be individually assigned to 192 fader strips across 6 layers, while 16 softkeys and 8 user-assignable soft rotary controls allow the mixer’s workflow to be customised to the needs of each show and operator. Forthcoming Dante, Waves and SLink audio networking cards further extend the scope for expansion, system integration, FoH / monitor splits and recording.

32 onboard preamps and 16 outputs. Ready to have fun and to mix monitors and stereo IEM’s.

Optional DEEP processing plugins give SQ-7 users access to boutique compressor and preamp emulations which can be embedded directly into all input and mix channels, without adding system latency or setup hassles.

There’s nothing as good as 8 user-definable soft rotary controls to stop navigating too much.

The console’s SQ-Drive feature makes it easy to capture high resolution 96kHz stereo and multitrack recordings direct to a USB drive.

SQ can also be hooked up to a PC or Mac via USB to become a plug ‘n play, Core Audio or ASIO compliant 32×32 audio interface, with upcoming MIDI and DAW Control capabilities.

Another standout feature for AV customers is the inclusion of two independent, fully integrated and assignable Automatic Mic Mixers, that can be combined to create a mighty 48 channel AMM.

Thanks to its SLink intelligent port, SQ-7 can be expanded up to a total of 48 mic inputs, the way to take advantage of all the power hidden inside it.

Allen & Heath Product Manager, Keith Johnson said:

SQ-5 et 6 with Keith Johnson.

“SQ-7 embodies everything that’s so exciting about SQ – the power, the speed, the ergonomics – in a more imposing format that lets us push the capabilities of the console even further.
As soon as we unleashed the SQ phenomenon, we were inundated by people who loved the concept and the features, and who wanted to take SQ into scenarios that called for more built-in I/O and more hands-on control. This one is for them!”

SQ-7 is supported by an ecosystem of mixing and personal monitoring apps, remote I/O expanders, audio networking cards and ME personal mixers, multiplying the system’s expansion and integration possibilities.

More information on the Allen & Heath website

Amadeus has started shipping a new horn-loaded point source speaker series, initially engineered for the Paris-based Théâtre National de Chaillot and unveiled at Prolight+Sound this year. Designed by Amadeus, the new C Series is a high-definition series of point source speaker systems combining Amadeus’ deepest innovation and technology.

Initially designed and manufactured specifically for the Paris-based Théâtre National de Chaillot (Chaillot National Theater), which houses the most prestigious dance and theater companies from Europe and throughout the world, the C Series (‘C’ is a tribute to Chaillot) is Amadeus’ latest speaker innovation. The new speaker series started shipping in May 2018.

The Firmin Gémier Hall. Visible on the stage, a C15 atop his sub. © Yoann Fitoussi.

Both models include a unique diffraction horn, each is specific and optimized to get a vertical dispersion of 60° and a horizontal dispersion of 90°, which can be inverted by rotating the system 90-degrees. This type of load ensures a perfectly uniform coverage and an excellent spectral quality throughout the whole listening area.

The C15 showing his BMS triaxial transducer whose mid/high section is a pure joy.

Facing the fountains of Trocadéro, the Tour Eiffel, and the Champs de Mars, the Théâtre National de Chaillot is a masterpiece of Art Deco architecture. Dreamed up by Jean Vilar, created by Georges Wilson in 1967 and named in homage to Firmin Gémier who created the Théâtre National Populaire, (People’s National Theater), the Firmin Gémier Hall has re-opened after 4-years of construction and renovations.

Completely remodeled with a vast 180-square-meter floor space, a 390-seat retractable bench, and state-of-the-art technical equipment – featuring a dozen of the new specifically-created Amadeus C15 Series speakers among many other high-tech sound breakthroughs – Firmin Gémier Hall has become a flexible space, ideal for artistic creation, with an abundance of possibilities and inventiveness.

“Given the very specific acoustical characteristics of the Firmin Gémier Hall, installing a conventional point-source system was not an option. We tried testing several two-way ‘coaxial’ systems, most notably the PMX 15 speakers, already used in the Jean Vilar Hall.

The BMS triaxial transducer found by chance in a PL+S hall.

They also were not what we needed, due to their wide conical (H80° x V80°) directivity and the expansion shape of their waveguide,” explains Marc Piera, Sound Department Manager at Théâtre National de Chaillot.

“Indeed, the very diverse types of events staged in the venue, the near-systematic use of multiple sources, sometimes immersive, coupled to a high level of natural hall reverberation meant it was necessary to resort to a system offering controlled directivity over a wide spectral band.
Also, the top of tier position of the last row of seats, fifteen meters away from the tip of the stage and nearly twenty-five meters away from the faraway back of the stage, rendered the use of a stereo ‘line source’ system irrelevant, even if more directive, given the associated heavy losses on the spatial aspect of sound program material.”

From left to right Michel Deluc, the head of Amadeus’ R&D, Gaëtan Byk, the Marketing manager and Thierry Coduys, a real specialist in new audio technologies, non-conventional PA systems but also musician. He can speak about the Holophonix new audio processor like nobody else.

Piera continues, “As already mentioned, a traditional line source system, with constant or variable curvature, placed in a classical configuration, would inevitably have affected the sources’ localization, according to Haas’ effect.
In the 1940s, this German scientist established that a source’s localization is given by the direction of the first sound reaching the ear (direct sound). If the difference between the spectator’s position, the primary source and the secondary source grows, this effect becomes stronger.”
“Which is why we participated to the development of a new type of speakers designed by Amadeus, that features a tri-axial transducer (three ways mounted on the same axis), including two compression drivers inherited from the MHF section of the DIVA M2 array system,” adds Piera.

The specific cabinet shape due to the deep magnet of the BMS triple transducer. Small volume often means less bass extension except in this case, the C15 can reach 65 Hz at -3 dB.

Michel Deluc, Amadeus’ Director of Research & Development, says, “The tweeter in the new C15 features a unique combination of extended frequency response, high efficiency, and wide dispersion pattern.
The driver is a 2-way system, employing two concentric annular ring diaphragms. Each driver covers a smaller frequency range for increased power handling, high dynamic, and extremely low distortion. The larger annular midrange diaphragm, featuring a 3.5-inch (90mm) voice coil, covers the frequency range between 800 and 6 500 Hz with a smooth, linear response.

The ultra-light annular diaphragm for the high range, featuring a 1,75-inch (45 mm) voice coil, offers exceptional transient response with very high efficiency from 6,000 to 22,000 Hz.” “The wide diffraction horn, optimized for a horizontal dispersion of 90° and a vertical dispersion of 60° allows for a control over directivity that extends to 800 Hz, a very high signal to noise ratio, and an optimized ‘reach’, compared to ordinary coaxial systems,” continues Deluc.

“I fully believe this technology will find uses in the many theater venues presenting similar acoustical challenges, and also in cases where directivity control over a wide spectral band is necessary, without adverse effects on spatial information,” concludes Piera.

For more information on the new “C Series” speakers, please contact Amadeus: [email protected] or visit the Amadeus website