Robert Juliat appoints PSI Production as distributor in Ireland

Robert Juliat is happy to announce the appointment of PSI Production as its new exclusive distributor for the Republic of Ireland and Northern Ireland, with effect from April 2023.
PSI Production was established in 1996 to provide high-quality technical solutions to the corporate, arts and entertainment industry.

(from left to right) PSI Production MD Brian Reilly, RJ Sales Director Claus Spreyer and David McKeown who handles Project Estimation & Design at PSI Production.

Its dedicated lighting department specializes in all aspects of lighting from theatrical, architectural, live concerts and festivals, to television, conferences and special events. PSI also has an excellent in-house lighting design team, and a network of talented LDs at its disposal.
The company will be responsible for promoting and supporting the entire range of Robert Juliat lighting products. With offices located in Belfast and Dublin, it is perfectly placed to service all clients on the island.

“As Ireland’s principal technical production company, PSI Production holds Ireland’s largest stock of professional lighting equipment for hire or sale,” comments PSI MD, Brian Reilly. “RJ is a brand beloved by generations of event technicians and we are proud to be their representatives in Ireland.”

“By welcoming PSI Production into the RJ Family we can ensure our customers receive dedicated attention and support across our full portfolio of products,” says RJ MD, François Juliat. “Ireland is such a hotbed of creativity that we are looking forward to becoming more involved at every level through PSI’s excellent market knowledge and great technical abilities. There are exciting times ahead.”

For more information about

– PSI Production
– Robert Juliat

 

Ayrton Perseo and Domino LT shine on Muse’s “Will of the People”

British rock band Muse recently finished the North American leg of its “Will of the People” tour named for the band’s ninth studio album that’s packed with UK and Billboard chart toppers.
Lighting Designer Sooner Routhier of Sooner Rae Creative, who served as Co-production Designer with tour Creative Director Jesse Lee Stout, chose Ayrton Perseo and Domino LT fixtures as stage lights and spots.

“I love the reliability of the fixtures and that they are rated IP65,” says Routhier. “With Muse heading to Europe for a summer stadium tour at the end of May, it was important to have fixtures that could deal with inclement weather. We also love the fixtures’ brightness and smooth field of colours.” John Bahnick and Josh Wagner from Upstaging provided the Ayrton fixtures.

The post-apocalyptic staging of the new tour takes the band in “a very different direction from their previous tour” in our pre-pandemic, pre-insurrection world, notes Jesse Lee Stout. He partnered with Muse to transport the band to a near-future realm where an extreme group of vigilantes are resetting the world to ground zero.


Stout and Routhier created a massive grid that formed three walls of a skeletal building with the band inside. This simplistic industrial look became the visual identity of the underplay tour by Muse last autumn and carried through to the “Will of the People” tour in 2023.

The production features a clear stage comprised of 75 percent plexiglass that exposes gear, lighting and other industrial materials; when the plexiglass decking is lit from below it adds to the skeletal feel of the stage. A 15-foot animated flaming logo is an acronym for “Will of the People.” Two inflatables more than 30 feet tall tower over the stage; one of them, dubbed “WILL,” wears a plexiglass mirror mask, which bounces light as do kinetic ceiling mirrors.
“The content helps explain a narrative of these vigilantes unifying after witnessing a non-violent protester brutalized by a pack of authoritarian figures adorned in golden armour and bull skull-shaped masks,” says Stout. “This figure appears as a 40-foot inflatable for the encore.”

For Muse’s arena shows, 16 Perseo fixtures were located on the bottom of the torms surrounding the stage. Eleven Domino LTs were deployed as spotlights with eight on a FOH truss for front light and three on an upstage truss for backlight. When the tour plays stadiums this summer 12 Domino LTs will be mounted on FOH delay towers and three upstage for backlight.
The North American tour marked the first time that Aaron Luke, the Associate Lighting Designer and Lighting Programmer, worked with Perseo and Domino fixtures although he has used other Ayrton fixtures in the past. “I’ve been very happy with Ayrton products for their brightness, efficiency and reliability,” he says. “Using IP-rated fixtures now made them the right choice for this tour as we head outdoors.”

The Domino LT, in particular, was selected for its compatibility with the Follow-Me system used on the tour. “We needed a bright light with long-throw optics and a flat field as well as the speed to keep up with artists who quite literally sprint from the main stage to the B stage at times,” says Luke.

“We’ve been very happy with the performance of all the Ayrton fixtures and have had absolutely zero issues with them,” he reports. “The support we received from ACT was amazing, as always,” adds Routhier. “We love ACT!”

More information on Ayrton Perseo, Domino LT, and the full portfolio of innovative LED and laser-sourced products can be found at www.ayrton.eu

 

Robert Juliat followspots at Nantong Grand Theatre in China

Nantong Grand Theatre is a new cultural and arts centre at the centre of the city of Nantong in China’s Jiangsu Province. It is the last masterpiece to be designed by the late master architect Paul Andreu whose other designs include the National Centre for Performing Arts in Beijing, and the Grand Arche at La Défense in Paris.

Nantong Grand Theater designed by Paul Andreu.

Located on the northern bank of the Yangtze River, the beautiful complex houses five performances spaces: the 1532-seat Opera Hall, the 1185-seat Concert Hall, a 599-capacity Drama Hall, a 250-seat Children’s Theatre and a multipurpose Function Hall.

Six Robert Juliat followspots were supplied to this magnificent building by Hangzhou YiDaShi Technology Development Co., Ltd and installed in the two largest venues. Four Aramis 2500W HMI followspots were delivered to the Opera House and two 1800W HMI Victor followspots to the Concert Hall.

The theatre owner, Nantong Culture & Sports Exhibition Management Co, Ltd, specified the Robert Juliat followspots for this important new venue because they believe “RJ’s followspots are of the highest quality and the easiest followspots to operate in the world.”

The Aramis and Victor units are installed in the main front-of-house followspot boxes with a throw distance of approximately 50m to the stage – a distance perfectly suited to their 4.5°-8° and 7°-14.5° zoom ranges respectively. Here they will be used for the venues’ eclectic programme of dance, musicals and opera.


Nantong Grand Theatre’s Head of Lighting Mr Wang Chenyu is happy with their new purchases, saying: “the beam quality for both Aramis and Victor is excellent – very bright and even.” His show team also enjoy using them for their ergonomic qualities. “Both the Aramis and the Victor are very easy to control,” confirms followspot operator, Li Hao.

Robert Juliat is distributed exclusively in China by Hangzhou YiDaShi Technology Development Co., Ltd / Ekolight.

For more information on Robert Juliat’s Aramis and Victor followspots and its full range of LED and traditional lighting solutions, you can visit robertjuliat.com

 

DiGiCo Reveals its new flagship console : Quantum852

DiGiCo is proud to announce the launch of the next generation of large format live audio production mixing consoles. As you would expect from a brand-new console from DiGiCo, it has been designed from the ground up.

Familiar, yet different, and with improved audio quality via enhanced algorithms, Quantum852 delivers a massive leap forward in processing power. It is neatly packaged with 1000 nit LCD screens for full daylight operation and a newly designed worksurface, giving users the confidence that, true to the DiGiCo ethos, Quantum852 has been designed not just for now, but for the future.

With that firmly in mind, Quantum852 also includes a raft of eco credentials. Its lightweight alloy construction reduces weight, which in turn helps mitigate its environmental impact during transportation. It has a reduced operating power, thermal cooling fans along with convection cooling and temperature dependent cooling. Further reducing Quantum852’s environmental footprint is the inclusion of sustainable and recyclable materials.

Screens and controls like it’s been raining. It’s better because of the crazy potential of this console!

Quantum852’s tech spec is equally as impressive. Featuring fully redundant processing, each engine is powered by five of the latest 7th generation FPGAs and next generation SHARC DSP processors.

Quantum852’s input count increases to 384 mono channels, with 192 Aux / Sub-Group busses, plus the familiar LR / LCR / 5.1 Master busses. It comes with a 64 x 64 Processing Matrix, 36 Control Groups, two Solo busses and 64 FX Rack slots. There are 48 Graphic EQs, 384 Nodal Processors, 128 Mustard Processors and 32 Spice Racks.

The magic continues with the Ultimate ‘Stadius’ modular LOCAL I/O, with each of the three cards providing four Stadius Mic-Pres, four Stadius Line Outputs and two Bit Perfect AES I/O. On the back of each engine there are eight single or four redundant BNC MADI ports, Word Clock, AES Sync and Video Sync inputs, Dual USB 2.0 Sockets, a SuperSpeed USB 3.0 socket, 4k DisplayPort Overview Out, 5-Port 1Gbps network switch, Dual DMI slots, Waves SoundGrid port and Optocore inputs as standard, with space for an optional second Optocore loop.

A detailed view of the power supply and the left engine with inserted two DMI cards, Klang and Dante and the Local I/O with its three Stadius cards. The right side is identical and has the same DMI cards.

The three 21.3 inch, all-new daylight bright screens ensure there will never be a situation where viewing is difficult. There are also three 19.2 inch dedicated meter bridge screens, three dedicated 6.8 inch control screens for bank and layer switching, and 69 1.3 inch worksurface screens, all of which are touch sensitive for channel selects and solos, ensuring instant access and control.

“Quantum852 truly is a massive leap forward in every way,” says DiGiCo Managing Director, Austin Freshwater. “Whilst it is completely new in its design and construction, it is still instantly recognisable as a DiGiCo. Its familiar workflow will make any DiGiCo user instantly comfortable, but its tremendous increase in power and speed will delight them. After an incredible 15 years of impeccable service, the Quantum 7 finally has a console to look up to.”

For more information, visit the Digico website

 

L-Acoustics launches L2 Series and LA7.16 amplifier

An assembly of two L2 and one L2D elements.

At a private event at the Hollywood Bowl, L-Acoustics announced the new L-Series with its patented Progressive Ultra-Dense Line-source (PULS) technology.

L-Acoustics introduced the line array concept in the early 1990s, and three decades later, the technology remains the standard for live events around the world.

“The L-Series is a revolutionary concept in concert sound, made possible by the culmination of 30 years of intensive research and development in software modeling, loudspeaker technology and electronics,” says Germain Simon, Director of Product Management, Loudspeakers at L-Acoustics.

“When we analyzed hundreds of projects using line source array across all genres and venues, we realized that most audience geometries and array shapes followed a similar trend.
This led to the understanding that a fixed element with pre-defined progressive angles would provide incredible gains in quality, efficiency, and sustainability.”

Germain Simon

L Series comprises two elements that are designed to work together or on their own: L2 above and L2D below. One L2 or L2D element provides the same contour as four K2 elements in a format that is 46% smaller and 40% lighter.

The audio benefits of L Series encompass industry-leading SPL per size, unparalleled consistency over the audience area, and improved rejection everywhere else. Accompanying the audio benefits, L Series revolutionizes deployment with a smaller, lighter footprint that reduces truck space and requires fewer elements, cutting the number of actions needed to load in and out.

The L2 element intended to shoot in the distance and initiate the J shape once connected to L2D, or extend the line with up to two other L2 elements.

L2D designed to end any length of L Series line.


There are images that speak for themselves. Compared to an equivalent line-array, L2 is less…

The power density of the new L Series is unprecedented. Each element contains eight three-inch high-frequency drivers with eight ten-inch low-frequency drivers, complemented by four side-loaded 12-inch drivers with front and back exits to deliver efficient, high precision broadband coverage with a choice of cardioid or supercardioid patterns.

L Series also features L-Acoustics Panflex technology, which provides sound designers with quick access to a choice of four horizontal directivity patterns: 70° or 110° symmetrical, or 90° asymmetrical on either side. Each L2 element includes four Panflex modules, while L2D contains two Panflex modules on the top elements, and two fixed L-Fins progressing from 110° to 140° on the bottom elements.


L2 at the BRITs.

Josh Lloyd, Britannia Row Head of Engineering and Special Projects, led the BRIT Awards’ team from design to delivery while continuing his tenure as the BRIT Awards Music FOH Engineer.
“L Series was truly impressive in terms of its coverage consistency, it was nearly impossible to hear any transition between elements of the array,” he commented.
“The tonal consistency was incredible; every listener had the same audio experience. The cardioid behavior of the box meant that once moving out of the coverage zone, it was difficult to tell if the system was on!”

“At the BRITs, where we hear presenters, acceptance speeches and a wide variety of musical performances, gain before feedback wasn’t a worry. The broadcast team received inputs that were uncolored due to the remarkable off-axis performance. L Series sounded incredibly musical, delivering output and punch that do not seem possible, based on its size.”

The operating efficiencies of L Series originate from its shape. With no inter-element angles, a pin-less auto-lock rigging system, and a single cable connector, repetitive load-in-/load-out actions are drastically diminished. This creates a set-up environment that reduces errors and leads to a stunning three-fold decrease in loading time versus a similar K2 configuration or up to five times faster than Kara II.

Helene Fischer on tour with L2.

L Series is just as impactful on the environment as it is on deployment. Starting with material savings: 56% less paint; 30% less wood and 60% less steel. L Series is frugal in resources.
Clocking in at 30% less volume and 25% less weight as compared to an equivalent line source array, L Series is also frugal in truck space and consequently in fuel consumption. The impact of the L Series is already being felt by Solotech on tour with Helene Fischer.

“Our L2 system uses a fraction of the truck space as an equivalent K1/K2 system would have,” explains Holger Schader, Senior Consultant Concert Touring and Special Events at Solotech.
“We used just one truck instead of two trucks for the audio on this tour. Load in is also easier and more fail safe because we only have four elements to connect instead of 16.”

Adding to system efficiency, L Series is driven by the new LA7.16 high-resolution touring amplified controller, which supports L2 and L2D with 16 channels of high-power amplification and processing.


LA RAK III, 60 kW in less than 10 U.

LA7.16 comes in a new LA-RAK III touring rack offering 48 channels of amplification in a Milan AVB-ready package with more than 60,000 watts of power in 9U. Leveraging the high-resolution amplification of LA7.16 and the advanced Autosolver tools, L Series output can be perfectly modulated to achieve results that are impossible with traditional line array technology.

With L Series, L-Acoustics also introduces the new Clamp1000, which can carry up to four L2/L2D. It can also be used with Kara II, K3, or K2, supporting up to 16 K2.
Using Clamp1000 users can rotate a flown line array from the ground, drastically saving setup time and the number of motors needed.

“The team of L Series, Clamp1000 and LA7.16 with its best-in-market amplification efficiency, along with advanced Autofilter processing, will make immersive audio deployments with L-ISA technology faster, easier, and more budget-friendly,” explains Simon. “And these benefits also extend to traditional stereo projects where the pressure to create quality sound with less people and less time is ever-present.”


L2 as unveiled to the Hollywood Bowl audience during the L-Acoustics keynote.

In January of this year, L-Acoustics began a comprehensive L Series pilot phase with partners Britannia Row and Solotech. Between April and October, the pilot program will progressively include six leading certified partners around the globe:
PRG and Solotech in the Americas, Britannia Row/Clair Global and Novelty Group in EMEA, and Tokyo Sanko and Winly in APAC will be deploying the new technology for various live events in October of 2023 when the pilot phase concludes.
Additionally, L-Acoustics deployed L2 and L2D at the Coachella Music and Arts Festival and Stagecoach in California with support from RAT Sound and AEG Presents.

“We were privileged to be the world’s first to deploy L Series last February at The BRIT Awards 2023. The process was seamless, from initial training and warehouse prep to system deployment at the O2 Arena,” said Lez Dwight, Director of Britannia Row Productions.
“L-Acoustics is a long-term partner, and we are quite proud to be the first company to pilot L Series on tour with Helene Fischer, for whom we are providing audio, lighting, and video,” says John Probyn, Head of Business Development, Live Productions Division, Europe, Solotech.

L Series ships in Q4, 2023.

For more information on the new L-Acoustics L Series, visit the L-Acoustics website

Robert Juliat appoints Sound Technology Ltd as distributor for the UK

Robert Juliat is delighted to announce the appointment of Sound Technology Ltd as its new exclusive distributor for the UK (England, Scotland and Wales), with effect from 25th April 2023.

Sound Technology Managing Director, Steve Fay (centre) with Robert Juliat’s Claus Spreyer (left) and Ludwig Lepage (right) at Prolight + Sound 2023, Frankfurt.

Sound Technology Ltd, a Midwich Group company, is one of the most successful distributors operating in the professional lighting, professional audio and musical instrument industries in the UK. Expanding its dedicated lighting division, Sound Technology will exclusively distribute and promote the full range of Robert Juliat lighting equipment.

François Juliat, Managing Director of Robert Juliat, comments “We are very proud to welcome Sound Technology in the RJ family circle. We are confident they will provide our UK customers with a high level of expertise, as well as comprehensive technical training and after-sales support.”

“The Sound Technology team is proud to welcome Robert Juliat aboard. Robert Juliat is the perfect addition to our current portfolio, allowing us to provide a full package in all areas of the industry from live, touring and install to architectural and theatrical lighting,” says Steve Fay, Managing Director of Sound Technology.

“We are excited to expand our lighting division and look forward to continuing to develop Robert Juliat’s reputation for excellence with our team’s full range of experience and expertise.”
Robert Juliat fixtures will soon be available to demo in Sound Technology’s demo facility in Hertfordshire and will be on the Sound Technology stand at PLASA Focus in Leeds.

Sound Technology Ltd can be contacted at: Sound Technology Ltd Letchworth Point – Letchworth Garden City – Hertfordshire – SG6 1ND – Website: https://www.soundtech.co.uk

For more information on Robert Juliat’s lighting solutions, visit www.robertjuliat.com

 

Jason Baeri lights Depeche Mode world tour with Elation

Depeche Mode is back touring in a big way with their “Momento Mori” world tour with lighting design by Jason Baeri and lighting supply by 4Wall. Elation lighting features in Baeri’s design, including three fixtures from the award-winning Artiste series of LED movers Monet, Mondrian and Rembrandt along with Elation’s new Proteus Rayzor Blade.


The “Momento Mori” tour, which is out in support of their newly released album of the same name, kicked off on March 23 in Sacramento, California, marking their first tour in five years. The European leg begins May 16 in Amsterdam with a North American fall leg set to launch in September. Baeri has support from Joe Bay, who serves as associate lighting designer and lighting programmer, while Sarah Parker is out operating the show as lighting director.

M backdrop

His first outing with Depeche Mode, the designer says talks with the band began in late October of 2022 and by mid-December a preliminary design was completed, which later saw small refinements. The tour features a 27-foot-tall M backdrop, a large structural piece running video that Jason says was one of the most important aspects of the design. Dutch artist and longtime Depeche Mode photographer/videographer Anton Corbijn came up with the basic concept, which Baeri helped flush out and turn into a physical product for the production design.

Changing perceptions

The M has a dual role as Baeri explains. “It’s designed to be a scenic piece rather than just a video screen so it has depth and weight. So when you play video across both the main screen and the M, you have two planes of video that look different for anybody in the house.

People who view it dead on have a different perception of it than people who view it from the side or at a higher angle. It physically changes what you’re viewing and how you experience the films that Anton has made. That was the basic concept that we started with, a physical object that would not just be a video effect but would physically change your perception.”

Lighting is used to match that same idea while supporting the physical frame of both the video wall and the M. “We were trying to replicate the same type of scale overhead that we were looking at on stage,” says Baeri, “so the overhead lighting rig is actually a forced perspective mirror image of the M itself.”

Synth and rock

Active since the early 1980s, Depeche Mode is known for their distinctive sound, a blend of new wave/synthpop and rock. Jason uses the rig to accentuate the expanse of moods and textures. “The music itself is really based on two separate ideas and we really had to embrace both,” Baeri states.
“We tried to pick one direction per song to go with rock or synth so the rig is broken into two parts that really reflect that. There are a lot of beamy looks and classic rock looks that are parcan reminiscent, and then for the synth songs there is more LED color and looks that feel more digital.”


Artiste Rembrandt

One of the workhorses of the rig, says the designer, is the Artiste Rembrandt LED wash moving head. “I love how much it’s actually a real wash light! Many manufacturers have what they say is a wash light with a PC lens but it’s really just a spot with internal frosts. They try to be the ultimate all-in-one tool but the quality of the light still feels hard edge.

The Rembrandt on the other hand is a dedicated washlight where you get a good splashy feel and a real wonderful soft quality of light. It does it really well and not in a way I see in other fixtures that are on the market at the moment.”
Baeri has the 51,000 lumen LED Wash fixtures working from the deck as shin lights. The fixtures feature throughout the show with the look for one of the band’s biggest hits, “Personal Jesus”, built around them.

Monet and Mondrian

Working from keylight positions and providing a bit of effect light as well are Artiste Monets, 45,000-lumen LED Profile luminaires with comprehensive FX package. “The Monets are a classic staple for me,” Baeri comments. “It’s such a clean, repeatable and reliable fixture that is just endlessly controllable. The ability to get them into those deeper, darker colors while still maintaining your output is a real big help.”

Rounding out the Artiste series lights used on the “Momento Mori” tour are 51,000-lumen Artiste Mondrian LED profile FX fixtures, which the designer uses as an upstage effect light. “It’s got that big fat lens on the front of it; it really holds its own with presence. We only use six of them upstage but they feel like a whole upstage wall of fixtures. They explode through the band and compete with the video well.”

All three Artiste fixtures house Elation’s proprietary 7-flag SpectraColor™ (CMYRGB+CTO) color mixing system, and unlimited indexing and continuous rotation framing, along with a host of texture, animation and layering solutions. “It’s nice to have that consistency throughout the range and know that I can hit those colors when I need to.”

Proteus Rayzor Blade

Seeking to emulate the frame around the video with lighting, Baeri says they sought a fixture to line the downstage edge and found what they were looking for in Elation’s new Proteus Rayzor Blade. “The Rayzor Blade is a nice take on the bar light and fit that role really well,” he stated. “It’s a really high-output fixture with clean color mixing and a zoom that has a great range. They definitely help to ground the downstage edge of the picture.”

The Proteus Rayzor Blade is a tiltable linear LED light that functions as a wash, strobe or FX light. Available with 6 or 12 independently controlled 60W LEDs, the fixture zooms to 6° for mid-air beams and out to 45° for washes and a 210° tilt rotation allows them to position dynamically. The fixtures are IP65 rated and are unique in other ways as well. Two high-intensity strobe lines of cool white LED dots run along the length of the unit, and they also include Elation’s proprietary SparkLED twinkle effect.

“The strobe line is great!” Baeri exclaims. “It’s like a big slap in the face. Even when there’s a lot of brightness in the room it cuts through well.” The designer incorporates the SparkLED effect in a couple of songs. “It helps diffuse the nature of the unit being such a technical object. It’s a fun effect and even more useful for TV and camera work.” Baeri shares that the original plan was for the Rayzor Blades to also line the runway, but that idea had to be scrapped due to sightline issues.

The Elation equipment for the “Memento Mori” tour is being supplied by 4Wall worldwide and is a component of a more extensive lighting setup. When the band embarks on their European tour on May 16, the rig will expand slightly for stadium shows.

For more information, you can visit www.elationlighting.com

 

Ayrton Zonda 9 FX fixtures on new Quebec TV Song Competition

Quebec’s KOTV is wrapping up the first season of Zenith, a new concept in live musical competition broadcast by Radio Canada, where song stars of different ages fight for the votes of an audience of 100 judges representing four generations.
Lighting Designer Martin Labrecque selected Ayrton Zonda 9 FX fixtures for the show in what is believed to be their first TV broadcast appearance. ACT Entertainment is the exclusive distributor of Ayrton lighting in North America.

Zenith aims to unite viewers from the Baby Boomer generation and Generations X, Y and Z in front of the small screen. Each week four well-known singers cover hits from yesterday and today in a battle to get the most votes from a studio audience of 100 representing those same generational demographics. The audience is divided into four groups of 25 judges each led by a star from the same generation.

The singers perform popular hits that span the decades, relying on strategic song choices and innovative arrangements to appeal to as many age groups as possible. Twenty-four artists participated in the first round of the competition with one per generation making it to the grand finale. The artist displaying a timeless talent that reaches across all eras, styles and trends will emerge the winner.

Zonda 9 FX

Labrecque, who is currently working on the new Cirque du Soleil production, teamed with the set designer to create the visual look of Zenith. “I built a lighting kit to hand off to DP and Lighting Director Yves Aucoin, who does the weekly show, so he has the flexibility to light the many different looks required by a variety show,” he explains.

Zenith marks the first time that Labrecque has used Ayrton Zonda 9 FX fixtures, which he saw at LDI and then at a demo arranged by ACT Entertainment’s Alex Monast. Zonda 9 FX is a versatile, full-equipped luminaire designed for a multitude of applications.

It offers the main features of the Zonda 9 Wash with infinite continuous rotation on the pan and tilt axes I.R.S. (Ayrton’s trademarked Infinite Rotation System) plus 3D volumetric effects and the complex graphic LiquidEffect, which can be used alone or in combination with the main LED matrix.

“A variety show like Zenith, with four different songs per night, presents a lot of different kinds of music,” says Labrecque. “We needed a versatile wash fixture and the Zonda 9 FX, with its LiquidEffect, offered really good eye candy too. It could adapt to all the different numbers on the show.” Labrecque obtained 16 Zonda 9 FX from event production agency Creativ Nation in Montreal, which has an extensive inventory of the fixtures.

At the start of the series Labrecque hung all 16 fixtures on the grid. “I thought they’d be used mostly as a wash creating a large beam of light with wide shots showing the LiquidEffect,” he explains.
“Then, in the middle of the series, Yves decided to put five of them on the floor so now you see the LiquidEffect used more as eye candy behind the participants. He’s found them to be great lights that deliver everything they’re supposed to do.”

Labrecque believes the Zonda 9 FX will come in handy for future large-scale variety projects he might do. “Their colours are so vivid and the light intensity so strong,” he says. “And the LiquidEffect is unique to them, something you don’t see very often and is quite interesting to use.”
Eric Belanger is the Lighting Programmer for Zenith.

More information on Ayrton Zonda 9 FX and Wash, and the full portfolio of innovative LED and laser-sourced products can be found at www.ayrton.eu

 

Unlimited Vision & Sound for Astera

Unlimited Vision & Sound is a lively full production event rental company based in Den Bosch, the Netherlands, capital of the North Brabant area and a renowned beauty spot.

Unlimited Vision & Sound owner & CEO Pascal van Engelen on the left, with operations manager John van Gaal.

Owner and CEO Pascal van Engelen, started the business in the 1990s whilst studying electronics at the local university, initially supplying his own DJ shows and party sets. After he graduated in 2000, he was enjoying the industry so much, that he decided to make it a more serious enterprise, adding several corporate clients and events to the portfolio, with the idea of providing the full technical package.

Clients liked his energy and attitude, so Unlimited Vision & Sound grew steadily and sensibly during this time. The company earned a great reputation for being creative, delivering excellent value and investing in quality technology, and the full-time team is currently 15 people, all retained through Covid.

Pascal has kept the rental stock relevant and contemporary, and right from the start wanted to work with leading brands, so Astera was going to cross their path sooner or later!
The first Astera AX3s were purchased in 2021, Pascal comments that they are “great little fixtures” with so many ingenious mounting options. In 2022, they purchased AX9 PowerPARs, which he reckons is a “perfect product in every way” again offering so much flexibility.

Using their time and space effectively during the two pandemic years, a high-quality streaming studio was added to the warehouse, as the demand for this service continued growing even once in-person events returned, with the part-live-part-streamed becoming a dynamic and good option for many businesses and brands.

“Streamed events need very specific lighting to ensure that the space works well and has the best impact on camera, adding depth and presenting a rich, textured 3D style and great flesh tones,” noted operations manager John van Gaal. “So the AX9s are excellent for our high-end streaming events and also cross over nicely to all the live events we are doing.”

They both agree that the battery life on Astera products is “amazing” and the software is powerful and logical to use. In fact, John says a case of Astera AX9s goes on the truck for every job leaving the warehouse, ‘just in case’. They can be quickly mounted and used in any scenario where a dark spot needs illumination or lifting. It’s a catch-all solution for which there is a constant need.

“As a rental company, we want to be as adaptable and offer our clients the best possible service and results,” stated Pascal, so this quality and type of lighting is always important. That is why we have currently 96 pieces in stock with all corresponding accessories, and we hope to extend that in the future!” he says with a smile.

All the Astera luminaires have been supplied by Astera’s Benelux distributor, Controllux.

For more information, you can visit the Astera website

 

zactrack assists Superbowl Half Time Spectacular

Among the most watched and anticipated entertainment and broadcast moments of the year – the Apple Music Super Bowl LVII Halftime Show – saw superstar Rhianna rock back to live performance at State Farm Stadium in Glendale, Arizona, USA, in a showstopping performance accompanied by a slick, elegant and super-epic production, setting new WOW factors for this hi-energy extravaganza!

The set was defined by seven flying platforms on which the artist and dancers started the show, mirrored on the pitch below by a striking red runway dancefloor where the action shifted for the latter half of the 12-minute segment.
Choreographed by Parris Goebel, this breath-taking piece of art was lit by Al Gurdon, who has sprinkled his illuminescent magic on the event for several years, with cameras directed by the legendary Hamish Hamilton.
Al needed to ensure that all performers on the moving platforms were evenly and consistently lit for the whole time as well as providing lighting for shots from two remote ‘NavCams’ flying above and between the moving platforms (but unseen during the broadcast).

Enter zactrack – the world’s most straightforward and intuitive real-time tracking system!

Technical challenges abounded in carrying off such a visually stunning and smoothly delivered production, one of which was how to keep approximately 200 overhead moving lights following the movement of the floating platforms and the NavCams which were running on a TAIT TOWERS Navigator automation system.

A zactrack solution was suggested by Eric Marchwinski of Earlybird.

Earlybird provided pre-visualization services and onsite support as they have in past years, and Eric and Mark Humphrey programmed the show lighting collaborating closely with Al, his two lighting directors, Harry Forster and Ben Green plus others on the creative team.
Eric tapped into the power and flexibility of being able to connect the zactrack PRO server with PSN (PosiStageNet) data from the TAIT Navigator system and embed this in the lighting cues recorded on the grandMA3 lighting console which was running in Mode 3.

This enabled any of the overhead moving lights to be assigned to any of the 7 performance platforms and the two flown cameras with the current position of each platform sent in real time from Navigator to zactrack via PSN. zactrack received those positions and accurately aligned the selected fixtures on the moving targets.

These lighting fixtures were used throughout the whole show, as the platforms moved at different heights and formations above the field of play delivering some effortless-looking set choreography. The same moving lights were also utilized when the show narrative reached the ground and Rihanna and the flying dancers stepped onto the runway which has been deployed on the pitch for the latter part of the show.

This ambitious masterpiece of show design was originated by Willo Perron and Rihanna with creative direction and production design from Tribe Inc’s Bruce Rodgers. “A reliable and active tracking system to keep light on the platforms was essential, and zactrack allowed us to do just that,” stated Eric.
The zactrack PRO servers were supplied by North American distributor, ACT Entertainment, with technical assistance from ACT’s resident zactrack expert, Aria Hailey. The zactrack feature enabling PSN to be used in this way – to track ‘virtual trackers’ – was developed in 2022 during “Awakening”, another acclaimed show at The Wynn in Las Vegas produced by Baz Halpin, Bernie Yuman and Michael Curry, on which Eric and Earlybird also worked.
This attention to detail from the manufacturer and support from the distributor has impressed Eric who notes that zactrack’s international team is “very supportive, they listen to our requests and have brought expertise and imagination to the software to enhance the system’s usability.”

The lighting contractor for the Apple Music Super Bowl LVII Halftime show was PRG and the lighting gaffer was Alen Sisul. The flying platforms and Navigator camera design and engineering were delivered by TAIT TOWERS with the field staging design and engineering completed by All Access. These were just some of the talented players in an all-star performance, technical and creative cast that have made this show one of the most talked about of the year so far!

More information on www.zactrack.com

 

Robe iFORTE, the powerhouse in the “off-road” version

After the FORTE, a profile with a 1000 W LED engine, launched in 2021 and which we tested in our columns, Robe is launching the iFORTE, identical in power, optics, and functions, but IP65 rated to face the constraints of open-air events.

In this test, we will not go back over the functions identical to those of the FORTE (see the bench test here), we will rather detail the technical aspects that characterize this new IP65 version, and report on the differences that we have been able to observe. between the two fixtures.

FORTE and iFORTE at work…

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Fixtures in the IP 65 version are often heavier, more difficult to maintain, and have their own characteristics, as the mechanical designs are specially designed to fit perfectly into the “waterproof fixture” concept.
ROBE wanted its iFORTE to be able to overcome these drawbacks, and for its fixture to be absolutely similar to the “non-IP” version. In this sense, even physically it is quite successful. Externally the iFORTE is very very close to the FORTE, a few millimeters here and there do not change its general appearance. If you don’t look at them under a microscope, you are unable to tell them apart. When it comes to the weight, there too we are very close with only 2.5 kg of extra weight putting it at 42.5 kg.

Overall maintenance was carefully studied

A waterproof fixture requires meticulousness in the event of any intervention or repair (a simple change of gobo for example). When the fixture is reassembled, it must be ensured that it is still perfectly sealed, at the risk of having problems or malfunctions in the short or medium term. The iFORTE has an internal system allowing it to perform internal pressure self-tests using certain onboard sensors, and to identify any problem of air leakage.

One of the challenges with the sealing of a fixture of this type is the balance between the air pressures between the exterior and the interior of the device. The pressure imbalance presents a risk of internal condensation, the humidity of which is visible on the optics of course, but the effects of which will, one day in the future, also be problematic for the internal mechanical and electronic elements.
The iFORTE uses pressure balancing valves which allow to constantly adjust the internal pressure of the fixture. The regulation needs to be continuous because the pressure will be modified under the effect of the rise in internal temperature when the LEDs are activated.

For information, when the fixture heats up with the full power of the LEDs, approximately 7 liters of air are extracted from the fixture to maintain the correct pressure balance. On the other hand, when it is turned off, 7 liters of air will enter, possibly loaded with humidity…

Robe’s other trick is to combine these valves with moisture-filtering capsules to guarantee the intake of almost dry air. To give an example, the ambient air outdoors in the middle of summer is loaded with 50 to 60% humidity. After filtering through the capsules, the rate is reduced to between 3 and 5%. Even in the event of a pressure variation, there is no condensation in the device.

The iFORTE is also intended to be used in winter, it also has a whole protection device against the cold. This is still organized around sensor systems, in this case, temperature, and whose information will allow the software to react. The device will be able to operate normally down to -10° Celsius. Below this temperature (the ball bearings are frozen tight, Démontage / construction the oils are congealed, etc.) the fixture will launch sequences allowing it to raise its internal temperature.

Initially, especially in its “standby” phase, it will use its motors as resistors. Electrical current will pass through the motors, without making them move, until the temperature rises to zero degrees. At zero degrees, the fixture will move the motors a little bit to check that nothing is stuck and that nothing is blocked, and if all goes well, the software launches a small reset of the fixture which becomes operational again.

For information, at ROBE, the projectors no longer reset pan/tilt. The various sensor technologies used allow the head to position itself where it is needed. Gone are the long seconds where the fixture did its complete little turn in all directions to end up positioning itself correctly via DMX. All products in the ROBE range will now benefit from this system and will be able to fit in cramped places allowing for only limited movement.

The iFORTE can receive power permanently (and this is essential for prolonged outdoor use), and only consumes 20 W in “standby” mode. Only certain internal regulation sequences such as those explained above for temperature problems can occasionally cause the fixture to consume a little more, but their permanent connection does not lead to costly consumption.
The iFORTE however has a limit compared to the FORTE. The manual tells us that for outdoor use, it cannot be mounted sideways. Flat on the ground or hung from a truss or pipe, no worries, but not on its side.

Dismantling / construction

Dismantled fixture.

Most of the casings forming the outer shell of the iFORTE use a particular material. It is an alloy largely made from magnesium. This is one of the reasons why this IP65 fixture is barely heavier than its “standard” version.

The sealed areas of the fixture are the head, the center of the yoke, and part of the base unit. The sides of the yoke are not included. Anything in there is potentially exposed to moisture or pressure differences without any issue.
Let’s be clear, it’s not open everywhere either, but if a few drops get in occasionally, there won’t be any problems.

In one of the sides of the yoke, there is the classic pan/tilt device with belts and tensioners to ensure the elevation and azimuth movement of the head, while in the other, there is a large plastic sheath containing the wiring that goes from the base to the head, thus completely protected, surrounded by two long transparent capsules filled with a sort of small orange balls.


The side with the filter capsules and the balancing valve

These two capsules, connected by a network of pipes, filter the humidity of the air at the head inlet/outlet. The left capsule has a valve directly above used to balance the pressure inside the head.

The filter material is based on moisture-absorbing silica gel. We were shown how the small “balls” can look after a certain period of use. The color goes from orange to brown, and it can go all the way to black when they are heavily saturated with water.

ROBE announces that for regular use, the replacement of cartridges should be considered at a frequency of approximately one year. This still leaves a lot of leeways to work comfortably with the iFORTE.

To open the head, all you have to do is remove the 2 surrounding half-covers held in place by 6 screws on each side. Everything inside is more or less like the FORTE, except for a small card attached to one side near one of the sides of the yoke. This is the environmental monitoring map. Lined with sensors, it serves as an interface for the permanent analysis of the state of the atmospheric conditions inside the fixture.

Once the LED module has been removed, there remains the collimating optics that form an entire unit with the device.

The front lens is coated with an oleophobic and hydrophobic treatment which prevents it as much as possible from having droplets of any fluids (such as rainwater for example …) which could create harmful deposits in the light output.

As for the FORTE, the iFORTE has an easily interchangeable LED engine (the whole series whose name ends with “TE”: “Transferable Engine” benefits from it) and has the same electrical and optical characteristics. It is simply a specific module with its method of cooling and the need for waterproof fixtures. The materials are different, more screws, a joint system, and a waterproof connector that can be plugged directly into the fixture.

Disassembled, rear view with the source and its ventilation system.

The cooling of the light source is done by 6 large fans, 3 which blow and 3 which suck in the air, around the radiators and heat pipes connected to the LED engine in a very classic way.

These fans are waterproof and therefore their compartment is not subject to a rain restriction. (Rain should even be able to improve the quality of the cooling…)
In the head, we also find on each side, two other small capsules, flat and perforated, containing the small orange balls.
They are there to absorb the “additional” humidity, in case there is still a little moisture left in the air. There are also two of these capsules in the base unit of the fixture.

The capsules are all very easily replaceable, and have an almost negligible cost, but if necessary, it is also possible to recondition them yourself, by simply drying them in a microwave oven. There, on the other hand, the manipulation, especially for the capsules of the yoke, is more delicate because it will be necessary to empty the balls of the capsules, and put them back inside, pack them well, and above all not to lose any to preserve all the filtering properties. filters, etc. So, working on this part yourself is quite possible but a little more technical…

The base unit also includes electronic and mechanical elements that are designed to be rainproof (with small anti-humidity capsules). Thus the base is also ventilated. This makes it possible in particular to avoid extra weight as was sometimes the case on certain earlier generations of waterproof fixtures and whose cooling was essentially based on dissipation by complete elements of the architecture of the carcass.

Internal anti-humidity capsule.

The internal capsule filled with humidity.


We notice the presence of two small “domes” which protrude from the base unit on its upper part, diagonally. These are antennas for the Wireless DMX signal. In the FORTE, they are integrated into the base, the shells being made of plastic, there is no problem with wave diffusion.
Here, with shells made of metal alloys, it is more complicated. The antennas, therefore, have this small external area. A single one would have sufficed but the second guarantees a good connection in all directions, the fixtures’ software selects on its own the antenna which will have the best signal reception.


The panel with protected connectors.

The connector panel includes all the bases of the FORTE, but this time with a protective cover.
The double network connection is equipped with “Epass” technology allowing the signal to be received and output even when the device is switched off.

On this panel is also found the general fuse holder of the fixture as well as the replaceable battery which supplies the display for the configuration when not plugged into the mains. A version exists for permanent outdoor installations, where all the connectors are replaced by fully sealed cable glands.

Test de pression

By closing the machine, we, therefore, carry out, as provided for in the procedure, a leak test. All we have to do is go to the “Pressure test” menu and launch “Start test”.

The menu screen.

In this mode, a solenoid valve blocks the passage of air and therefore allows the internal sensors to check if there is a pressure variation inside the head.
For the inside of the machine to rise in pressure, the process used is that of increasing the internal temperature. The software closes the framing blades and sends the light to 100%.

The complete test takes about 5 minutes and is done on its own. If a loss of pressure is detected, the machine notifies you and you will have to double-check that you have closed everything correctly and relaunch a pressure test.
As the covers are very easy to open, there is little risk of it being a headache… But if following an impact the casing is dented or deformed, you know that there is a problem and that there is a leak. somewhere…
Robe tells us that the surrounding pressure is also taken into account. If you are by the sea or in the mountains, the pressure is not the same, the software can take it into account in the analysis and the pressure comparisons that it will perform.

Infos connectées

ROBE has always been quite good regarding the fixture/user interface. Smartphone applications and various connectivity, which allow technicians to interfere with the fixtures, have been working quite well for a few years now. Here again, on the iFORTE, it is possible to have a lot of information allowing the monitoring and maintenance of the fixtures in different ways.

Web page connected to the fixture… “the briefcase”!

One of the most complete is to connect the fixture (or a series of fixtures) via a network switch to a computer. All you have to do is open the internet browser, type in the fixture’s IP address, and a web page reveals the status of the fixture live.
You can then see all the electronic parameters, cooling, internal and external temperature, electrical voltages, DMX frame, control signals, and sensor data (temperature, pressure, etc.) In short, you have a valuable and complete inventory in real-time.

Comparing the light output…does it have the punch of the Forte?

Only 1% difference between iFORTE and FORTE derating.

Well yes. We can say that in use, between FORTE and iFORTE, the minimal difference will not be noticeable to the eye. The derating of 7.5% for the FORTE increases to 8.4% for the iFORTE.
The flows compared between the two machines (that of the FORTE in our first test, and that of the iFORTE today) are almost identical to less than 10%.

In comparison, at 20°, our reference angle, the illuminance at the center after derating of the iFORTE is 13,000 lux against 14,300 for the FORTE and the flux goes from 34,600 lumens to 31,600 still after derating.

Square-Low dimmer curve from 0 to 100 %.

The zoom range becomes a bit wider on the iFORTE: 5.4° – 53.1° against 5.5° – 51.4° for the FORTE.

Furthermore, all of the tests we have carried out show that the gobos, colors, and prisms are the same on both versions and the Square Low dimmer curves are the same.

Gobo tests (FORTE left, and iFORTE on the right).

Color tests (FORTE left, and iFORTE on the right).

Conclusion

The iFORTE is, like the FORTE, a powerful and amazing fixture. It also has its “IP65” protection index, making it resistant to external phenomena. I say “external phenomena” and not simply “weather conditions” because if the iFORTE is of course an ideal fixture for use in all types of weather, it will also be ideal for all indoor applications with a considerable advantage, that of having a fixture whose overall maintenance is reduced to a bare minimum.

With a completely waterproof head, there is no more untimely cleaning and other routine maintenance… We change the small cartridges once a year, we wipe the lens, and there… Today it is an axis of reflection that is at the heart of the concerns of many suppliers who are interested in “IP” to benefit from versatile, long-lasting fixtures, but also to overcome other problems related to the implementation of more traditional fixtures.
Besides that, with the iFORTE, Robe pushes even further and brilliantly all the technological processes of development and applications seen so far on the moving heads. The achievement is, in my opinion, exceptional.


We like:

  • Everything, it does everything well
  • Design Intelligence

We regret:

  • Nothing

Robe video of the comparison of the two fixtures

iFORTE & FORTE comparison video from ROBE lighting on Vimeo.


For more information:

– le site Robe Lighting France
– Banc d’essais du FORTE dans SoundLightUp : FORTE Robe, le rival du BMFL


General listing

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Manchester Opera House invests in Robert Juliat Arthur LT followspots

Manchester Opera House has recently replaced its in-house followspots by purchasing two Robert Juliat Arthur LT 800W LED followspots from White Light in the UK.
Arthur LT is a long-throw version of the original Arthur followspot with a narrower beam (4°-10° zoom range) and an output that exceeds that of an HMI 2500W followspot.

It has an enhanced light quality with a CRI >94 and a sound level that is quieter than any of its discharge rivals, all of which helps to ensure Arthur LT is as suitable for theatres as for concerts or big arenas. The Arthur LT units replaced Manchester Opera House’s aging Cyrano followspots which had given a good 15 years of service at the busy venue.

White Light’s business development manager, Jonathan Haynes, first introduced Arthur LT to Stuart Graham, head of technical operations at the Ambassador’s Theatre Group, owners of Manchester Opera House, at PLASA Leeds last year.
Graham approved the purchase for Manchester, and the two followspots were delivered earlier this year.

The arrival of the Arthur LTs simultaneously marks a transition from traditional sources to LED as John Mace, Technical Manager at the Opera House explains: “As our Robert Juliat Cyrano followspots began to wear out, we wanted to replace them with something contemporary, with more modern technology that would last us for the next 15 years.

The Arthur LT LED followspot was the perfect fit for our venue, and the ideal substitute for the Cyrano lamps. It is packed full of features. The light is even and cool with no hot spots and we have used standard gels with no issues. Additionally, Arthur LT’s onboard system allows the LED source to connect to the lighting desk, which is a feature we are looking forward to putting to good use.”

The 110-year old, Grade II listed touring venue hosts a broad programme of plays, musicals, ballet and concerts and a special Christmas pantomime each year.

One of the largest theatres in Manchester with a 1930 seating capacity, MOH’s stage is 37 feet wide x 42 feet deep with an approximate 29m throw distance from the followspot box where the Arthur LTs are sited.
“The Arthur LTs look great on our stage, delivering an excellent equivalent output to the Cyranos,” reports Mace. “The operators report they are a delight to operate, being smooth and well balanced.

As regards to maintenance, the spots operate at a lower temperature, are extremely quiet and don’t have a cumbersome ballast to maintain. The LED is easy to replace and should last a lot longer than an HMI lamp.

“All the visiting companies have been impressed with them so far and with the light output they are able to deliver. We couldn’t be happier with our purchase.”

More information on Robert Juliat’s full range of lighting solutions on www.robertjuliat.com

 

DiGiCo Quantum Consoles for The 2023 Grammy Awards

The 65th Grammy Awards, which took place at the Crypto.com Center in downtown Los Angeles, was an even busier affair than in the past.

The 65th Grammy Awards audio team.

While it may not have had as many individual song performances as past Grammy Awards events, it more than made up for it with more complex productions, most notably the 35 rappers and four DJs who turned the stage into a 15-minute-long history of rap, including Missy Elliott, Big Boi, Run-D.M.C., Queen Latifah, Method Man, Public Enemy, Busta Rhymes, DJ Jazzy Jeff, and the Grandmasters Flash and Melle Mel, backed by a combination of tracks and the Roots playing live. Getting and keeping all of that audio together fell to a cohort of veteran mixers of the show and an all-star cast of DiGiCo mix consoles, provided through ATK Audiotek/Clair Global, the event’s sound-reinforcement vendor.

Two Quantum7 consoles were located at front of house, manned by Ron Reaves and Michael Parker, who alternated mixing live performances by the evening’s artists, including Harry Styles, Bonnie Raitt, Lizzo, and Adele, all of whom were also category winners that night. A Quantum338 desk also shared the FOH platform with them, through which production mixer Jeff Peterson combined the two alternating FOH feeds with production-audio elements such as introductions, announcements, and acceptance speeches from the podium.

The Jeff Peterson Quantum338 production console and behind it two Quantum7 FOH consoles.

Two more Quantum7 in monitor world, manned by Tom Pesa and Andres Arango, reflected a similar split of the bifurcated stage, on which one performance would take place while the next was setting up behind the “close-down” screens that kept the focus on the show. All the Quantum consoles were connected on an Optocore network loop, each with a complement of SD-Racks and SD-MiNi Racks. Everywhere you looked, everywhere you listened, you saw and heard DiGiCo Quantum.

“The Quantum7 is simply the best tool for that job,” says Ron Reaves, who was mixing his 20th Grammy Awards show. “It presents a very good, very powerful platform that lets you do anything you want and place anything you want anywhere on it,” he says. “My template is 168 open faders so I have to be ready for anything, and I am with that console, because it has the horsepower I need for that kind of wide-ranging array of performances.”

With over two dozen individual artists performing at the show, he spent time on every song during rehearsals and soundchecks consulting with their FOH mixers, and the Quantum’s SD-Range heritage greatly facilitated that. The hecticness of Grammy Awards rehearsal days they sprawl across the three days ahead of the Sunday evening event makes that familiarity critical.
“All the guest engineers know it and are familiar with it,” he says. “It gives us a common language, and that makes keeping a hugely complex production like the Grammy Awards moving and on schedule. The snapshot capability is exceptional.”

Similarly, the Quantum7’s innate power helped keep the workflow steady. For instance, Reaves notes that while front of house and monitors share the same preamps, the latter tends to drive them hotter. “My gain structure and way of working will put less pressure on the preamps, but if they start to almost clip upstairs, I’ve still got a ton of headroom on the same preamps,” he explains. “Between the power and the flexibility, it’s the only console we could do this on.”

Andres Arango et sa Quantum338

Reaves’ counterpart on the FOH platform, Michael Parker, agrees, calling the Quantum7 “the Rolls Royce of consoles.” During the Grammy Awards, he applied the Spice Rack’s Chilli 6 multiband compressor on many of the vocals he mixed, including during Stevie Wonder’s performance.
“It’s great for softening up the vocals in a certain range, between about 2k and 5k,” he explains. The Quantum7’s ultra-flexible worksurface was a boon during the show’s acclaimed 50th anniversary of hip-hop segment, when he and Reaves changed their workflow: instead of mixing performances on one side or the other of the split stage, Parker handled all of the vocals for the entire stage while Reaves mixed the music tracks, live band, and three DJs.
“On the network, we all had access to all of the inputs, and the Quantum7 lets us easily configure each console for each production,” says Parker, who was also recently using a Quantum338 on Fox’s The Masked Singer. “And the Stadius 32-bit mic pre’s were also great to have on that show. Everything just sounded so good.”

Over in monitor world, Pesa covered IEMs for stage right and Arango for stage left, and both on DiGiCo Quantum7 consoles, the third Grammy Awards show for the desks. Pesa, who was on his 23rd Grammy Awards turn, says the basic currency of monitors for the Grammy Awards is a foundation channel template built on the Quantum7’s worksurface. That then gets copied and customized for each artist, for quick recall as the show progresses. However, both mixers have to be alert for last-minute changes.

Pesa recalls on the 2014 edition of the show Paul McCartney’s performance was moved from one side of the stage to the other, 30 minutes before he soundchecked. “We had to quickly create a new template for that,” he says. “You want to have every parameter at your fingertips at all times because you never know when you’re going to have to make a quick adjustment. The biggest challenge is keeping as many options on the table as possible, even as you’re trying to pare each template down for each artist to keep it manageable. The Quantum7 is a big help for that.”

Andres Arango found the Quantum7’s flexibility to be a lifesaver on monitors for the 50th anniversary of hip-hop segment. “Tom and I were going to town on that, and I was amazed at how fast and accurately we were able to work on what was a pretty hectic production number,” he says. “Questlove was calling out each performer just before they came onstage and giving a quick countdown over his talkback mic. “Ice-T—one, two, three, four, go! Busta Rhymes—one, two, three, four, go!’ We were just racing. And the Quantum7 kept up. I don’t think there is another console that could have handled that fast-paced show as well as it did.”

More information on the Digico website

ArKaos Launches VS4 media server at Prolight+Sound 2023

ArKaos, one of the leading real-time live visual technology innovator, launches its new, powerful and flexible VS4 media server at the Prolight+Sound expo in Frankfurt next week.
The impressive ‘industrial strength’ design and build of VS4, complete with custom rock-solid motherboard and a blisteringly fast graphics engine, offers 4 x 4K outputs (or 16 x HD) and runs on Windows 11.

Its sturdy, gnarly, no-nonsense appearance reflects its place in the ArKaos VS next-gen range of creative visual control products – which also includes the VS1 – of which it is the ‘big brother’. The aesthetics have been developed in keeping with the contemporary style of InMusic’s dynamic brand portfolio.
As you would expect from ArKaos, VS4 is a feature-packed, intuitive and fun to use visual tool as well as a cost-efficient 19-inch rack mounting solution for all scenarios requiring full control over a range of media inputs.

Running seamlessly with the latest ArKaos MediaMaster software, VS4 interfaces and works harmoniously with any lighting console, and is targeted at high end television studios, streaming facilities and broadcast scenarios.

With this exceptionally rugged engineering, it is also ideal for hardcore production, touring and rental markets.
Two interface screens enable monitoring, there is full USB connectivity on the front via two robust ports and a Neutrik PowerCON for power.

With up to 16 x HD screens running from one VS4, devices can also be networked together for controlling even more screens. The screens can be remotely locked thanks to EDID compatibility, while the front panel LEDs can be programmed to display different colours to indicate status or assist with fault finding.

The VS4 is constructed to make day-to-day or on-the-road maintenance easy. The backplate opens and the cables can be extended so if a connector needs to be swapped out, the process is straightforward and painless.

LED illumination on the rear allows technicians to see what’s happening in the dark – handy when working onstage, on a set or in any dark corner or recess!
Being a fully modular system, VS4 units can be built up as required by adding input cards. The basic version comes with power and output cards allowing users to tailor precisely to their needs and also utilise their budgets efficiently.

This is a natural progression for the current ArKaos product range following the popularity of VS1 and is a proactive response to market demands and the increase in 4K applications.
The integration of the MediaMaster software platform ensures the smooth, accurate and harmonious control of multiple video and LED pixel inputs from one reliable device.

For more info about ArKaos, you can visit www.arkaos.com

 

PL+S 2023 : New special areas on digital media & camera technology

Frankfurt am Main, April 2023: Prolight + Sound is further expanding its range of products and topics for the 2023 event. With the new Future Walk, the show (25 to 28 April 2023, Frankfurt) will offer an interactive area with an experiential character, which will present innovations around networked systems for event technology and broadcast applications.

The focus is on network-based processes that will permanently change the industry in the coming years: from remote production to device-independent workflows and on-demand infrastructures. In addition, the Kamera Hub will celebrate its premiere at Prolight + Sound. It is a central contact point for TV cameramen, presents innovations in moving image production in specialised exhibitions and invites visitors to talks and workshops.

To realise the new special areas, Prolight + Sound is cooperating intensively with partners from the industry. The Future Walk is being created under the professional direction of MakePro X, one of the leading suppliers of high-performance control consoles for media technology in the network age.
Other partners and exhibitors in the area include key players and specialised suppliers such as ARRI, Broadcast Partners, Nebucast, Netorium, On Hertz, Panasonic, Teltec, Troikatronix, Universe and Zoom. The German Association of Camera Operators (BVFK) is responsible for the Kamera Hub.

Future Walk: How innovative AV media technology will revolutionise the industry

On more than 250 square metres, the area in Hall 11.0 offers five different stations where visitors can experience the systems distributed in the network in action. In addition, crosssystem and cooperative networking will be demonstrated at all stations: The participating companies will make their components available directly via the network and provide indepth insights into the functions, workflows and advantages of their solutions.

The following stations are planned for the Future Walk

Network Distributed Media Processing: This station is dedicated to the combination of audio, video and human control interfaces with stream manipulation services in the network. It shows how monolithic solutions can be broken down into individual components and reassembled in the network to provide optimal control.

Device Independent Workflow: Less complexity and more user-friendliness: With the Multi Target Control Layer, operators experience maximum ease of use. The station shows how different solutions can be integrated into a single, device-independent user interface and thus controlled and monitored with reduced effort.

Hybrid Events and Remote Production: Using IP-based networks instead of wired connections, the components of a system can be controlled from anywhere. The station shows innovative approaches to increase the interaction of participants, reduce transport and travel costs and optimise job satisfaction.

On-Demand Infrastructure & Service: More and more on-demand services are conquering the market and offer an alternative to traditional hardware purchases. The investment in physical devices is thus giving way to licensing models. At this station, visitors will learn how they can increase their cost transparency and test new, professional solutions without a long-term commitment.

Interactive Stage and Mixed Reality Studio: The use of VR technologies blurs real and virtual worlds and opens up stunning new fields of application in film and events. The station presents ground-breaking control systems that bring the stage to life and enable realistic 3D simulations in the style of the holodeck known from Star Trek.

The solutions presented at the various stations culminate in the “Future Walk Livestream”. It is produced by Nebucast, partner of the Future Walk, in a “transparent studio” and is accessible on the web during the event. Every day, interesting content such as demos, interviews, performances and technological deep dives can be experienced here.
In addition, visitors to Prolight + Sound can be present during the production of the stream, look over the team’s shoulder and gather inspiration for innovative video applications.


Kamera Hub: Product overview and expert knowledge for TV professionals

With the new Special Area in Hall 11.0, Prolight + Sound is giving moving-image production a home. The centrepiece of the area is the “Look of the Future” exhibition, where TV professionals can get an overview of new camera models for use in TV productions as well as innovative LED lighting solutions. Also part of the Kamera Hub is the “Speakers Area”. Here, expert talks on industry-relevant topics will be held daily.

The programme includes lectures on innovative technologies in the TV sector, the job profile of TV camera operators as well as occupational health and safety. There will also be workshops on make-up, camera and lighting for HD productions. Sustainable solutions in TV operations will also be highlighted. Also part of the programme is a workshop that demonstrates the interaction of make-up with camera and light. Here, visitors can also act as models themselves and receive a professional make-up from renowned artist Nicole Stoewesand.
Representatives of numerous industry-relevant associations and organisations will be taking part in the BVFK programme, including the German Make-up Artists Association (BVM), the Association of Independent Service Providers in the Event Industry (ISDV), the German Social Accident Insurance (DGUV) and the Rundfunk Pension Fund. The programme will take place in German language.

In the product exhibition, visitors will experience the latest products from renowned companies such as Canon, Dedo-WeigertFilm, ETC, Fiilex, Lightpower, Panasonic, ProLycht, Rosco, Sigma, Sony, Sumolight, Teltec and Video-Machinery.
In addition, the Kamera Hub is home to the exhibition stand of the BVFK and its members. The entire four-day programme of the area is available at www.prolight-soundprogramm.com.

Prolight + Sound: Leading European Trade Show for Entertainment Technology

For 28 years, Prolight + Sound has presented all the new trends and technologies for spectacular events and productions. Hundreds of companies from all parts of the world present their solutions from lighting and audio to studio and broadcast to AV media technology as well as event services from 25 to 28 April.

Especially in the field of theatre and stage technology, the event has developed into Europe’s biggest meeting place. In addition, there is an extensive programme of further training on several lecture stages. The focus is on new technologies and fields of application as well as cross-sectoral topics such as personnel development, sustainability and gender equality in the event and entertainment industry.

More information about Prolight + Sound can be found at www.prolight-sound.com

As an international trade fair brand, Prolight + Sound is present with events in Germany, China and Dubai. More on the global activities at www.prolight-sound.com/worldwide

Links to websites

– facebook.com/prolightsoundfrankfurt
– twitter.com/pls_frankfurt
– instagram.com/pls_frankfurt
– youtube.com/plsfrankfurt
– prolight-sound.com/linkedin