An established manufacturer of AOIP solutions for the broadcast market is seeking, through the recruitment agency Interfacio, an experienced channel sales person with a good knowledge of broadcast systems to manage and develop their international distribution channel sales.
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The main PA and the outfill stage right, entirely made with M28 cabinets. Flown behind, six S118 help creating a full range system.
Award-winning Irish singer-songwriter Gavin James has played one of the biggest shows of his young life, at the 3 Arena in Dublin.
It was also one of the biggest indoor shows of the year for Irish rental company SOUND DESIGN, using its new NEXO STM Series modular line array systems for the first time on an arena-sized live music event.
This was in fact the first deployment of Sound Design’s newly-purchased STM system with M28 omnipurpose cabinets, purchased after a successful pilot event in Croke Park stadium, a multimedia spectacular for the 1916/2016 commemoration, and the RTE Centenary show in the Bord Gais Energy Theatre, Dublin.
With 12,000 people attending Dublin’s 3 Arena, high production values were in place for the Gavin James show. At FOH was well-known live sound engineer Marc Carolan, supported by Eddie O’Brien, one of his regular techs who is also system engineer for Sound Design.
Initial system designs for the production were generated on NEXO’s proprietary NS-1 modelling software by John Vickers and Eddie O’Brien of Sound Design, as well as Val Gilbert from NEXO’s Engineering Support Team. All three reached near-identical conclusions regarding the configuration of NEXO’s versatile STM elements.
Stage Left, 4 meters and a half of M28 cabinets ready to fly.
The main PA was rigged with 18x STM M28 cabinets per side, with flown STM S118 subs to create a full-range left/right system. On the ground, another 20x subs were used to create a supplementary subbass arc, something of a Marc Carolan trademark.
In the wide auditorium of the 3 Arena, outfill hangs consisted of STM M28 cabinets. And at the rear of the arena, under the balcony, Sound Design placed NEXO’s compact GEO M6 line array modules. “These cabinets were firing in towards the bars, which made a massive difference to the show and the atmosphere,” says John Vickers, MD of Sound Design.
The flown system seen from the side
Monitor engineer Paul Moore (“Mini”) also used NEXO for the monitor system: 12x 45°N-12 array monitors on stage, and 2x RS15s on the drum mix. Side fills used a stack per side, each with 1x STM M46, plus 1x STM B112 and 1x STM S118 sub. Power was provided by a total of 4x NEXO NUAR racks.
“Gavin James is a great entertainer, and this was, in my experience, an exceptional show,” confirms VIckers. “It was a combination of the right system, a fine FOH engineer and a damned good engineering team to put it all together.
The key was having one source – a full system in the air, including the subs, to provide outstanding overall coverage.”
More informations on Nexo website and on Sound design website
Three colors for the same new enclosure
L-Acoustics announces the launch of Syva, a new format, high power speaker system which features six medium-frequency and three high-frequency speakers in a sleek J-shaped progressive curvature format.
The groundbreaking transducer arrangement called segment source* (*patent pending) produces an H/V 140° x 26° (+5/-21°) directivity pattern that is optimized for exceptional surface coverage and 35 meters of throw.
Syva is an outstanding choice for corporate events, fashion and trade shows, as well as for sound reinforcement in amphitheaters and performing arts centers. The modern, sleek design will make it an attractive option for houses of worship as well as intimate settings such as home cinemas or lounge bars.
Syva showing his J shape offering an exclusive directivity pattern of H/V 140° x 26° and a 35 meters of throw.
Syva can be accompanied by the Syva Low high power subwoofer or Syva Sub infra extension to achieve a 142 dB max SPL. Its companion Syva Low enclosure features two K2-grade 12” drivers designed to provide low frequency contour and extended bandwidth down to 40 Hz. Similarly Syva Sub features one KS28-grade 12” driver, to further extend the bandwidth of the system in the infrasound domain down to 27 Hz. One LA4X amplified controller can drive up to four Syva enclosures.
Syva laying on top of Syva Low, the high power sub, and at the right of the image Syva Sub in charge of the infrasound domain.
Syva can be wall- or pole-mounted, as well as flown, or used alone with its baseplate. Alternatively, Syva can be rapidly mounted on top of Syva Low or Syva Sub using the AutoConnect plug-and-play audio and physical link. A RAL color program allows Syva to melt into any architecture.
“The introduction of Syva is a landmark for L-Acoustics,” says Stéphane Ecalle, director of marketing at L-Acoustics. “Syva is a new breed of sound system combining the benefits of line source technology with a plug-and-play approach, in a sleek design, tailor-made for places where elegance and discretion are paramount.”
The Syva system will be on display at the L-Acoustics booth #7-X220 at ISE in Amsterdam from February 7th through 10th and first orders are expected to be shipped in early June 2017.
Powersoft’s mission to strengthen the company further in 2017 has begun in the most dynamic fashion, by announcing the appointment of the highly experienced Klas Dalbjörn as Product Manager. The former Lab Gruppen and Lake Product Research Manager will add considerable strength and gravitas to the development team, headed by co-founder and R&D director, Claudio Lastrucci. His role will extend across the entire product portfolio.
Klas Dalbjörn
Speaking of his appointment, Dalbjörn said: “After 24 years in the pro audio business I felt ready to embrace a new challenge. For many years I have been impressed by the level of innovation and growth of Powersoft. I share many of the values held by the owners, so I am very excited about contributing to the future growth of the company. I look forward to assisting in the process of growing the product portfolio to cover both new and existing applications for our global customers and partners.”
In welcoming Klas to the company, Powersoft’s Sales & Marketing Director Luca Giorgi emphasised the philosophy of the company, stating that people are the key ingredient in a sustainable business. This is particularly true in a professional industry which depends on personal relationships. Maintaining a dynamic and progressive one-on-one relationship with our clients and partners is key in consolidating our leadership in innovation.”
“This has been our vision from Day 1— but we cannot implement this without highly skilled professionals like Klas who share our passion and ambition. “He understands that what drives a company’s success is not just about having a revolutionary idea but those who contribute to making it real” added Claudio Lastrucci. With this appointment, he believes that Powersoft’s leadership in product conception and development in the pro audio industry will be beyond doubt. “It will reinforce our position as clear leaders in the field”. Klas’ appointment is effective immediately.
Here’s an interview of Klas explaining more in detail his appointment and role within Powersoft
A musical masterpiece returned to the stage at the Teatro Manzoni in Milan. The moving scenery designed by Cristiano Colombi dynamically creates the various different settings.
All of them recall the Upper West Side of New York, where the story is set, and Claypaky’s light beams shine out.
Federico Bellone was asked to direct the show: “To set the scene, I decided to focus on two elements: the theme of fear, a feeling shared by all the characters in the two rival groups, the Jets and the Puerto Rican Sharks, and red, the colour that has become a trademark of the musical, along with the five iron fire escape staircases which link the various levels of the scenery.” The work of the creative staff involved in producing the musical was focused on these pieces of scenery.
Did the presence of the fire escape staircases and their movements on stage make the lighting design very difficult? There are shadows everywhere.
Valerio Tiberi: “Yes. So I decided to use them. At different times during the show, there are scenes with shadows projected onto the backdrop. In the last scene, one of the most emotionally difficult moments in the show, we decided to turn off the video projection, as it seemed too invasive, too beautiful and too well defined. At that moment, I was able to project the long shadow of the towers onto the black backcloth.”
Did you achieve the lighting you were hoping for?
Valerio Tiberi:”I am happy with the overall set-up I gave the lighting design. I preferred to use incandescent lamps and especially side-lighting in the wings. I pointed the whole sequence of lights in various directions with various incident angles, from the ground up to 13 feet up, along the side towers, or vertical trusses. There are 8 in total: a sequence of two beam shapers, a B.Eye K10, 4 PAR lamps, another 2 beam shapers, an Alpha Profile 700, and lastly another B.Eye K10 on the top of the truss.”
Is there any room in the wings at the Teatro Manzoni?
Valerio Tiberi: “Not a lot, but we placed upright trusses on the right and left of the stage without any problems, in compliance with the distances needed by the moving heads and for the entrances and exits of the actors, dance troupe and props.
Did you need compact lighting fixtures?
Valerio Tiberi: “I managed to install exactly the number of lights I had envisaged in my design. The body of an Alpha Profile 700 is incredibly compact (head length = 455 mm / 18 inches). It is about as big as a theatrical PAR lamp.
I wanted to pursue my initial idea of communicating through side lighting, which is a useful tool for loading a scene with dramatic tension, like during the clashes between the two opposing gangs, I put very few lights in the overhead rig. Their colour, where they come from, and their angles – mostly on the proscenium and further down the stage – help recount the story through the direction of the light. I used lights that could fill the scene, like the B.Eye K10s: basically lights that could back-light at least three levels, the whole floor and the stage.”
How did you deploy the B-Eye K10s in your lighting design?
Valerio Tiberi: “I arranged them symmetrically. Four on the first batten, four on the second, four on the third, and only two B.Eye K10s on the fourth batten. There are also other beam shapers on the overhead rig: a total of six, two on the first batten, two on the second and another two on the fourth.
They work as special lighting units during Tony’s first meeting with Maria, during the dance scene that follows, when all the couples are on stage, when they project windows inside the bridal shop, on the bed in Maria’s room, and when they light the grocery store from the side.” The lighting programmer used a GrandMa2 light desk.
Marco Moccia’s Leader Sound provided both the sound and lighting systems, and – above all – Marco helped reproduce everything that was part of the original design.”
More informations on ClayPaky website
Eighth Day Sound, an early and influential member of Adamson Systems Engineering’s global network, has further expanded its inventory with a substantial investment in Adamson E-Series and S-Series products for their Australian base in Sydney.
Headquartered in Highland Heights, Ohio, with offices in Los Angeles, London, and Sydney, Eighth Day provides sound reinforcement for top tours and festivals around the world. Subsequently, the company has invested heavily in Adamson products in recent years to keep up with the global demand for high-performance audio systems.
A happy team posing with their new canadian toys, from left to right S10, E12, E15 and E119 from Adamson
“Having Adamson available globally has been a part of our strategy since day one,” says Jack Boessneck, Executive VP with Eighth Day Sound. “With the acclaim it is garnering around the world, we have to be prepared to meet the growing demand.”
Members of Eighth Day’s Australian team travelled to the company’s Ohio headquarters in December 2016 where they and dozens of their colleagues completed Adamson’s brand new Applied Certification Program, which will formally launch in February 2017.
Eighth Day’s new complement of Adamson loudspeakers includes over 140 E-Series and S-Series cabinets and subwoofers. “The E-Series is a powerful addition to our system offerings in Australia,” comments Damo Pryor, General Manager, Eighth Day Australia. “These products are a standard in the European festival circuit and are now exploding in North America. We’re proud to have been the first company to bring the complete range to the Australian market.”
“I had the chance to work with E-Series products for the first time this year in a stadium application in the U.S. The PA threw for days, and we did the entire stadium without delays,” adds Eighth Day’s Lead System Tech, Tristan Johnson.
Thanks to Benoit Cabot’s hard work, the E119 delivers just 2 dB less than the E219 in the 31 Hz band
“The new E119, designed with input from our team, had a shocking amount of power. I can’t wait to roll it out in Australia and show people what it’s capable of.” Now boasting an in-depth knowledge of Adamson’s high-performance systems, Eighth Day Australia is wasting no time putting their new fleet of E-Series and S-Series products to use on major events across the country, including dates on the upcoming RÜFÜS tour and some soon-to-be-announced festivals.
“We’ve had the chance to work with Eighth Day Sound globally for several years now” concludes James Oliver, Adamson’s Director of Marketing and Sales. “Their commitment to standardize their equipment offering with unmatched service across the globe makes them an industry leader. We’re looking forward to exposing the Australian market to an alternative product currently only available with Eighth Day Sound.”
More informations on Adamson Website
LEDs have replaced most of the lamps in our fixtures for show lighting, although certainly in each case with more or less success. There is still one type of product in which no one had thought to install them: the strobe. Peter Johansen, who marks his return to the industry at the command of SGM, had this great idea and offers us his X-5, a strobe loaded with white LEDs. We put on our sunglasses and take a closer look at it.
SGM, an Italian company founded in 1975, led a prolific career in automated lighting before being acquired by the RCF Group in 2009. While in France SGM is not very well known, the connoisseur will remember perhaps some innovative products such as Synthesis, its advanced (for the time) battery-powered display and solenoid-controlled yoke locks, or the Digital 1500 and its digital gobos. In short, evidence of a sharp research and development department. I have fond memories of the Pilot 2000 Controller, which was the first console I put my hands on and, as they say, your first always leaves the strongest impression.
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After leaving Martin Professional, which he had founded and directed until 1998, the Danish entrepreneur Peter Johansen went on to develop wind turbines and audiovisual systems for luxury yachts. Then he met Arturo Vicari, president of RCF, who managed to convince him to take the reins of the SGM development department in 2010. Peter Johansen then moved rapidly in Denmark with engineers of his former team and those of the SGM Team, to become head of the new SGM consortium in 2012 and begin to develop LED products in earnest. Plasa visitors in London in September could find a very innovative stand and Peter in great shape. Between a ceiling animated with 3D graphics using its LT-100 tubes, armored walls and LED products, SGM has awakened this autumn. Two original products caught our attention, two very innovative strobes: the X-5, which is more powerful and mounts exclusively white LEDs, and the RGB XC-5.
The 2970 LED canvas impressive 10 mW. You can recount. Top and bottom appear once the glass removed the power resistors in CMS.
Encased in a black aluminum rectangle 50 cm wide and weighing a little less than 6 kg, the X-5 makes an immediate impression with its exaggerated matrix of 2970 white LEDs rated at color temperature of 5700 K. It is a veritable embroidery of surface mounted components crimped onto an aluminum substrate that we suppose is in direct contact with the heatsink, which is also made of cast aluminum and covers the entire rear of the projector. We can not do more than guess, because this circuit/heatsink assembly is not removable. The diodes are without optics or course, which would be unnecessary for a strobe where maximum luminous impact is desired, but they are protected under a solid glass plate surrounded by a nice rubber gasket. This glass is relatively easy to replace (just 8 Torx screws to remove) with a frost filter, for example. Without modification, the opening of the “beam” is 110°, which effectively covers a stage. A thin, rectangular and sturdy aluminum yoke holds the head of the X-5, allowing tilt adjustment of the fixture over a range of 110 ° – manual only – using the clamping wing screws on each side. Surprisingly, these are plastic and stand out a bit on the all-metal chassis of the fixture but this relative fragility does not hinder it from perfectly locking the strobe in all positions.
Cabling and menu. Simple and functional.
The base of the lyre, larger, while perfectly complementing the simple design and the net X-5, welcomes the various connections, food and electronic control unit 5 points DMX input / output socket Neutrik PowerCon for the current. A copy will Powercon electric chaining four X-5 on a single PC16, which will not fail to leave the appliances dreamers who leave their cables 32 mono closet. For camera settings, a small screen with its 5 buttons OLED complete the rear. Below the base has 4 sockets ¼ turn judiciously arranged to install a single central hook or two symmetrically spaced plants for more acrobatic. Finally if strobe is naturally upright, an aluminum plate is fixed by four Torx screws under the unit assures maximum stability while allowing access to both sockets ¼ turn in the middle.
The 4 ¼ turn fasteners and brackets for 4 threads to attach the ground plate. However, it lacks a safety cable and a small bracket to be truly complete.
The X-5 is naturally stand when the plate is fixed by four screws
Les entrailles, accessibles en enlevant 10 vis Torx, avec de gauche à droite l’alimentation à découpage, le fusible de protection caché derrière le fil de terre, les MOS de puissance au milieu et le micro-processeur.
The menu is very simple. Fortunately, because the navigation is not obvious at first (ie without reading the instructions, like any good technician). We selected DMX address indicating the next free address please, its mode of operation (from 1 to 7 channels), complemented by a menu and test information and a witness indicating the presence of DMX.
This whole process is carried out in record time, the strobe is ready to work even before my test console does eventually come on. So I finally potash instructions and I noticed three very interesting features. On the one hand the choice of DMX channels and their parameters strangely reminds me of one cult Danish strobe ago launched more than 10 years and I strongly suspect Mr. Johansen you have been for something at the time. By laziness so I use the same library and everything fits perfectly!
Secondly, we can independently control the intensity of three adjacent third matrix of white LEDs X-5, so I add just 3 parameters to my library. If you use the color strobe XC-5, just these 3 parameters correspond to the intensities of red, green and blue.
Finally, do not expect to use the projector for fixed lighting. As its name suggests it is a strobe effect and if a “shield” exists, it is by combining the frequency of flashes with a duration wise (eg 4 flashes per second for a duration of 25 ms) but electronics unit intensity decrease rapidly flashes … in exactly the same way as a Xenon lamp strobe traditional sees his current decrease when the continuous requests!
The explanation is simple, and we then see the choice of manufacturing: Each white LED 3000 is given for 50,000 hours of operation, the total average consumption is 360 W. Before this pile of LED, we will look obviously on the cooling capacity of this projector. To generate high light intensities with the same LED, they are warming up very quickly after the peak current of the feeding, the risk of burn must therefore provide cooling or passive with heavy and bulky radiators or active with expensive ventilation or cooling. But assuming that the user is accustomed for nearly 15 years using traditional flash strobes and their continuous use at full load drastically reduces their light output Xenon lamp in a few seconds, just to simulate what mode to protect the LEDs. Electronically and by blocking the flow of supplies to the LEDs when they are overstretched, SGM brilliantly simulates the operation of a “real” strobe while greatly reducing the weight, size, complexity and cost of the product!
The 3 independently controllable segments, so pedestrian.
That understood, I began to drive the vehicle. I 3 increases the intensity parameters of each segment and increases the maximum dimmer general. A simple flash occurs if the strobe speed is zero, allowing me to manually trigger pulses with dimmer fader general. The result is stunning! The flash is pure white, not too pale, covering a large area without any problems. Mode if you lose the famous blinding retinal scan horizontal pencil Xenon lamps, projection it is close enough for a standard strobe not really make a difference to the eye.
Released the carton with leaflet, the power supply cable, the aluminum plate and screws.
I set the speed from 0.5 to 25 Hz carefree time glare can she vary from 0 to 650 ms. All answers perfectly except dimmer usually not from more accurate, but since the use of this type of device, it is not really harmful. When increasing the length of too flashes, electronics automatically limits the intensity, applying a curve similar to that of a stroboscope lamp. Pushing the projector to its limits, eg effects “shield” closer, I noticed a limitation of the overall intensity if I do not observe a period of fifteen seconds between flashes more continuous 3 seconds. Again this is a perfect copy of the operation of a common strobe subjected to the same regime. The only difference is that the radiators of X-5 quickly reach 55 ° Celsius, but not enough to burn, however. Separation into three zones is more anecdotal, unless a large amount of line machines, especially that there is no time for random effects on these three areas. Finally I found the effects parameter curves archi-known “ramping” random “lighting” and “spike”. The values for each parameter strobe SGM are so similar to those of our preferred atomic we can replace the strobe kit tour with virtually touching the console light! Of course the light output of the X-5 is still slightly down for the moment, it lacks the golden aura and particular effect if the Xenon lamp. Some may even regret the faint sound of cicada very old strobes where still find it too “high-tech” an impressive array of LED in traditional kits, but this remake of a standard stage lighting is really successful.
Near 1750 € (price list), but with real savings and lamp operation and effects very similar to those of a conventional strobe, I imagine that a number of providers will be interested in the strobe ultra-modern. If its little brother, the XC-5 running three colors is too powerful, it really marks the return of the “godfather” Peter Johansen in business for the greater good of SGM and madmen flash we all a little behind our console
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An evening of fun, an evening of excess and an evening of dreams, this is what Bruce Springsteen gave us on the most wonderful Independence Day France has ever witnessed. With the E-Street Band as tight as ever and the Boss rock-solid despite his 63 years, they managed to throw the breakers at the Palais omnisports de Paris in Bercy four times during the soundcheck! With Avid Venue and 160 L-Acoustics enclosures brought to bear, John “Coop” Cooper as Chief blaster and Soundlightup as a lucky witness, we can now certify that rock and roll is still alive!
Coop himself came and showed us in at the Palais Omnisport door and announced that the venue’s transformer failed and resulted in complete loss of power three times (four, if you consider the one that occurred during our interview – editor’s note). We thought to ourselves that we would have to make ourselves scarce and forget about the interview. John’s smile and serenity were quick to cheer us up, though. The show WILL go on, you’ll see! He led us directly into the backstage area where we did see the enormity of this tour, which looks almost cramped in a room that is actually quite large. We took advantage of our being near what we believed was the only console devoted to monitors to question him briefly on the monitoring before starting with questions on the front of house.
Mister passion in person, John
SLU : Can you tell us a little bit about monitors?
JC : We have two DiGiCo SD7s, one on the right and one on the left, because, with 18 artists on stage, one console would actually have been enough, but one brain wouldn’t have! (Laughs – editor’s note) We have 104 sources in the patch. I do not even know how many outputs Troy and Monty manage. I know Troy (Milner, Left-side Monitor Engineer) has about fifty busses because everyone is in stereo and Monty (Carlo, Right-side Monitor Engineer) must have even more, plus all of Bruce’s wedges and the sidefills flown vertically on the stage: four JBL Vertec 4888s per side. Bruce has four main wedges, two internal ones for his voice and two external ones for the musicians, not to mention the sidefills for the entire group. The sound that you hear (very loud – editor’s note) is the level of his amplifier. So we had to direct them 60° upwards to keep them out of the vocal mics… at least a little! The stage is very loud. To return to Troy & Monty, I do not know how, even with two of them, they manage to deal with so many mixes, I have a simple left/right to manage, sometimes a little more, and I find that to be plenty. I cannot picture myself keeping up with 16 to 18 stereo mixes. They do it every night, though.
SLU : The stage is really high.
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JC : It is designed to be that way, it allows us to have a little world below, and when we play in stadiums, it is indispensable. We call our underground space the “underworld” and this is where you find all the backline technicians who take care of keyboards, guitars, drums and so on. Every one of them has a passageway to hand the instruments up and receive ones that need to be tuned or simply put away.
The riggers?They worked a lot, but how else could it be when the with an in-the-round show?
SLU : We were told that Solotech is the supplier for the tour and that they are quite Meyer-oriented but, apart from eight JBL Vertec sidefills, I see only L-Acoustics …
JC : Now they have a few, and many more than before (laughs – note). As you know, historically Audio Analysts has been Bruce’s supplier and that company was acquired by Solotech last year. For this tour we took bids from four companies knowing that I wanted to have K1s and KARAs. One of the selected providers was, of course, Clair Brothers, because of its history with Bruce, but they were proposing their I5 line and I was really looking for K1 for the main rig.
SLU : What do you like about K1 and KARA?
JC : I think this is the best system available today, the best sounding. This is only my opinion, but what I look for is what sounds best, and I think I have heard almost everything. It is also the most reliable and predictable in its daily use.
From left to right we find the main system consisting of 12 K1s and 6 KARAs which are coupled with 8 K1-SBs and 4 LA-Raks visible at the top of the connection between the K1s and KARAs. Still on the right, there are 12 very arched Kudos, it is one of four lines dedicated to the audience at the rear of the stage and finally the side hang with 12 K1s and 6 KARAs.
SLU : Have you heard the new JBL system?
JC : No, but frankly I have used a lot of JBL products and JBL Vertec in particular, and I am now looking for something else. To be very clear, I have a goal: to deliver Bruce Springsteen’s music to his audience in the most pure and natural possible way without having to compensate for any specific material weakness. I am not asking for anything more, neither for me nor for anyone else, just the best sound for my artist. I have been fortunate in my professional life in that I have always been able to work with and mix the singers and the bands I like. I know many colleagues who certainly work, but without enjoyment and without any desire to listen to their artists’ music through their headphones on a day off. I do. I was happy to learn the craft and learn the ropes over the years, but my real drive is the passion for the artist, and I have more than an artistic technique. I am passionate about the performance on stage, which is the same performance that I must deliver in the best possible way to the public each evening.
This is the
A view of two delays comprising 8 V-DOSCs to cover the back of the room.
SLU : To return to Solotech, so they had only a few L-Acoustics in their inventory and now …
JC : To service this tour, which hits both stadiums and small venues such as Bercy, they now have about 210 enclosures, 60 K1s, 24 K1-SBs, 48 Kudos, 24, KARAs, 24 SB28s, 32 V-DOSCs and a number of lipfill dV-DOSCs. Tonight we have unloaded only about 140 enclosures (in fact nearly 160!- Editor’s Note). The two main arrays are composed of 12 K1s with 6 KARA downfills, and on the sides they are reinforced by 8 K1-SBs. For sides we have two other arrays with 12 K1s each. To cover the rear seats, we have 4 arrays of 12 KUDOs each. For infrabass, we have two sets of four SB28s stacked with one of the four enclosures turned 180°. Both stacks are hidden beneath the stage as well as a variable number of dVs we use for frontfills. Tonight we also have flown a central cluster of six dVs, to fill between the two main arrays.
SLU : This is perhaps the reason why the L-Acoustics staff is coming to visit you tomorrow, isn’t it?
JC : (laughs) Yes, they expressed some curiosity and want to come and listen to what we do! They are especially interested in the way I use the K1 as lateral reinforcement, whereas in L-Acoustics this is the role of KUDOs. We chose to use the K1 as main and side hangs and to reinforce the rear with a large number of KUDOs – 4 arrays of 12 enclosures. As we cover 360° of every venue on the tour, I chose to do it with with 6 points and, as here in Bercy, a seventh small center fill.
Side by side two softwares created by two sound reinforcement manufacturers. On the left, the new V2 LA Network Manager and, on the right, the old faithful SIM3.
SLU : The number of subs seems very low compared to the number of full-range units…
JC : In the stadiums we put 12 on each side. Here in Bercy we have eight SB28s under the stage, and that’s enough. If I were mixing a big metal band I would not work in the same way, but for Bruce’s style, all I need is to find the same bass level near the stage and away from it and to have an effective coupling between the arrays. The SB28s only cover the pit, the privileged area facing the stage. Beyond that, the K1s and K1-SBs take over really well. Bruce himself does not like too much bass, and it doesn’t fit his music. He likes his sound to be warm and full, but not with an overloaded low end. We therefore do everything possible to properly match the bass near the subs to the bass from the arrays.
« Bruce does not like too much bass
SLU : The front of house console is close to the stage, it seems.
JC : We are at just 35 meters. It is right here that the coverage of the two K1 arrays of the main system meet.
SLU : A person invited by Coop and impressed by his Olympian calm might wonder how he does it…
JC : If this type of event makes you nervous, then you’ve really chosen the wrong job (laughs – editor’s note). There are hundreds of things that can drive you crazy every day. Here is an example: I remember one evening at a concert at the Giants Stadium (80,000 seats in NY – editor’s note) behind me I had the president of JBL, next to him the president of Harman and Albert Leccese, who’s since deceased, but at the time was the President of Audio Analysts, Ron Borthwick, the chief engineer at Clair Bros, and that was only one side. On the other, there was Bob Clearmountain and Bob Ludwig (I will not insult you by saying who these two are, whose pedigrees are as a starry as a summer night – editor’s note).You guessed it, I was surrounded, no expert ears here, everything was just fine (laughter!). And it’s in this case that you need to distance yourself and – like standing on stage and pretending the audience is naked – you just need to say, “OK, I’m here, nobody knows who I am and I am going to mix in the most beautiful way”. Also you have to keep that distance and keep this in mind whether you are in front of 1,000 or 100,000 people. If you let your mind work too much, you will quickly be overcome with anxiety and you will begin to pile up blunders.
Four of the eight JBL VT4888s used as sidefills to complete the coverage of the stage. On the right side one of the two hangs of 12 K1s and 6 KARAs.
One of two delays composed of 8 V-DOSCs that cover the audience in the back of the room.
SLU : I saw a multitude of semis outside. This is a good way to measure the “size” of a show …
JC : That’s true, but like all great shows, we have a triple-team structure. One sets up, one operates and one disassembles constantly. This means 12 to 14 trucks. We have 24 semis, for sound, lighting and backline. Anyway, a normal stadium tour has, including generators, about 40 semis. We have tandem Caterpillar generator groups with two coupled diesel 3840s. Just one generator is enough to ensure complete security: we’ve never lost power. They are on their way, some by boat and the rest by air.
SLU : Is the tour going well?
JC : Very well. You should always know that, for Bruce, we agree to do something rather special. For example, we unloaded on June 20 at the stadium in Sunderland. The next morning, the day of the show, we were on the job at 6:00 am to get everything rigged . Guess what happened? It poured down non-stop until the end of load-out that night, show included. The next morning, at 6:15 we started on the stage in Manchester… and there we got downpours almost all day long! One day off and we were on the Isle of Wight for the festival, and well rinsed, I might say! You know, there are not many tours of our size that allow such speeds. For us the impossible is the norm, but frankly, we do it with pleasure. When we see Bruce on stage, what he is capable of giving, we no longer feel the fatigue. The least we can do is to keep up his pace!
Coop
SLU : Who designed and created the sound system as I see it tonight?
JC : I would say that’s me and the Solotech technicians made my wishes possible. We talked a lot with the lighting and video crews so that the three could live together as well as possible. I also have the best audio team I have ever had. Including me, there are eight of us. Each monitor engineer has an assistant and, as for me, I have three system engineers, which is not a luxury because I don’t only mix the show, I also record each date on two Pro Tools, 104 tracks in all. I also have two FoH engines for my Avid control surface, and I think I am one of the few who does that with this brand. They are linked to each other in MIDI and everything I do on the first is immediately mirrored on the second. Of course the 104 audio lines are sent to both in parallel by the RME MADI Bridge. I use an APB-Dynasonics MixSwitch as an output matrix and to cover, in addition to the two mixes, a playback and also Bruce’s voice from one of the SD7 returns, in the very unlikely event that both FoH engines were to give up on me.
A closeup of the rack placed just below the Avid surface with, from the top, one Big Ben Apogee used to transform a black burst into a more digestible clock, an RME Octavio II, used to go supplement the 96 preamps of the Avid stagebox, APB-Dynasonics MixSwitch used to switch automatically between the two FoH engines working in tandem, a Millennia HV-3D, an excellent preamp used as a spare and, finally, four RME MADI Bridges used to distribute mic signals to the two FoH engines.
SLU : Your console looks a little full…
JC : I have only one input left out of 96 so I had to add a rack of 8 RME preamps. It covers only secondary sources of ambient mics. All microphones on the stage come in on Venue preamps . The split on stage to both engines is made via an RME MADI Bridge. Finally we work linked to a time code and to a common clock so we can work confidently with the people from video and take some audio on a Pro Tools. In fact, do not tell anyone that I still have a free input on my desk, otherwise someone will want it!(laughs)
SLU : Coop, explain to us why you choose a console, I guess you have mixed with just about everything in your career!
JC : First of all, I can have any model I want on this type of tour. The choice of a Venue is due to a number of reasons. First of all, this is the first console that allowed me to use plugins, and that’s very important for me, plugins from several different developers. Even though I use Waves a lot, I am also a fan of retro or even newer plugins . The second reason is the sound quality and the third is reliability. I’ve never had any problems with Venue aside from what I would call minor bugs. Among all digital mixing platforms on the market, I think this is the most stable and that is precisely what I’m looking for for Bruce. I am in touch with the people who are developing the next model, so I encouraged them to double the engine to operate at higher frequencies and have more outputs. I’ve always had a good relationship with them.
SLU : Why did you first choose this brand?
JC : The first time I could get my hands on a Venue was pretty special (laughs). Maybe you’ve never noticed, but we kind of do things at the last minute in our business (oh yes, we have noticed – editor’s note) and I remember we had a last minute rehersal planned and could not get the gear from the shop there in time feeling there was an opening, I quickly contacted some friends in what was then called Digidesign to ask if somewhere on the east coast there was a desk available the following Monday because, of course, it was on a Friday night, which never makes things easier. Stroke of luck, I was informed that Tony Bennett would end his show in Atlantic City the next evening and Monday morning I could have it all. I then pushed my luck a little further and also requested a Pro Tools rig for recording and – it was six years ago – someone to connect everything and explain how it worked. They said “OK, we’ll send you a Pro Tools from New York with a senior technician “.”How much will that cost?” I said. “Unless you wanna keep the drives with which you record, it is free for two weeks,” they said.
One of two Pro Tools for recording shows every night, tucked in its 4U Magma rack case just above one of the FoH uninterruptible power supplies, very handy when the power is playing tricks!Some equipment, like the racks, still carries labels featuring
SLU : It was earned…
JC : Of course, who could resist such a commercial policy? With it, we could stop carrying around the remote recording system that had been with us on previous tours; I also got the Virtual Soundcheck, a very useful function that did not exist at the time. I had to sort out the opinions of people who were constantly telling me that this or that console sounded so much better, had more stuff, had more outputs, thus making me ask myself the right questions as to whether I needed any of it; if I really wanted to complicate my life or if this alleged superiority would be heard in stadiums. Finally, was it worth the trouble? I asked these same questions with all the products I’ve been offered since and the response has been that I do not always feel the urge to get into a new adventure. DiGiCo SD7 is a great desk but, I felt the digidesign platform was the way to go for me. For me, sound quality should balance with reliability and convenience. Being able to pass a show between a Profile and D-Show or an SC48, according to its possibilities, is a plus that I asked Avid to keep on its next line.
SLU : Because of your switch between engines, your console output is analog…
JC : That’s correct, but tranquility has no price. We convert to AES in one of the Dolby Lakes, back there in the area where I no longer venture (laughs)! I used to always run my own system, but for this tour, honestly, I had to quit. It has become too technical for me, especially because I can count on a trio of experts in the field, Etienne Lapré, Klaus Bolender and John Bruey. I much prefer to concentrate on mixing and recording each show, which is already not an easy task.
Atop the drive racks, LTO cartridges waiting to be loaded with the countless tracks and songs recorded each evening.
SLU : I see indeed that recording is becoming increasingly important in live work.
JC : It is essential in Bruce’s case. Just think that every show of the tour is recorded by two machines in parallel. Each individual disc is then archived on an LTO cartridge. The first goes to the Sony underground storage center in Stone Mountain, Georgia where they keep all of the Sony artists’ recordings, the second goes to Bruce Springsteen’s own archive in New Jersey, where he has been keeping his entire career and shows for thirty years. He has a FileMaker Pro database which allows him to find each title easily, as everything that enters the underground storage repository is give a specific barcode. You can imagine the variety of materials and media that he has archived…
SLU : Is there anything special as far as microphones on this tour?
JC : Nothing special, I am using the market standards, the good old timeless, indestructible SM58 for vocals, SM57 for guitars and some reconditioned Sennheisers, some Heil PR22 and PR28 mics for toms, some Shure KSM137s …
When Coop says he does not splurge with transducers, he does not lie. Here is a view of Max Weinberg
Almost completely reclined to shoot for the stars, and not for the vocal mics, these two Voxs have very separate miking, with a plexiglass panel isolating them.
SLU : There’s nothing strange!
JC : Oh, do not expect to see a surge of Royer ribbon mics or stuff like that with me. This tour is a steamroller bordering on a jackhammer when it comes to the levels on the board. I wish I could place large diaphragm condensers on the guitar amps but the bleed would be so much that it would be suicidal. I have three guitarists on stage playing as hard as they can throughout the show…
SLU : Despite the size of the room, is the sound that comes from the stage giving you trouble?
JC : No, not necessarily. I live with it and I cover it, which sometimes makes me run it a bit louder than I like but there is a threshold below which you hear a color and the origin which can be problematic. Also, covering the stage sound reduces phase problems between direct sound and the reinforcement, which is necessarily delayed by the digital chain of the microphones. It is true that if you ‘re in the front row, you can perceive some differences but from the fourth row on, you’re in the coverage of the main system, and everything is in order. That said, I’m sure there are perfectionists – and, luckily, I am not one – obsessed with the phase or the reflection or “how do you accept this little echo from the bay window…” who will always be disappointed. I spent my life learning how to circumvent these problems and now I’ve come to ignore and live with them. It is true that this venue (Bercy – editor’s note) does not seem great but, hey, it is useless to fixate on things that you can not perfect, or you’ll miss out on those that you can. You have to concentrate on the essential, on what really matters to your audience, and that is the music.
SLU : You like music …
JC : Yeah, more than anything. It moves me deep within my being since my childhood. I’ve never played an instrument, but I believe I have a good ear for music. I’ve also always had the chance to work on the music I love and in which I believe. I can even go as mere spectator to attend concerts without being obsessed with the sound.
SLU : You can turn off the “Coop” in you whenever you want?
JC : Absolutely. If you ask me a critical opinion on the sound, I can give it to you, but I’d rather just enjoy the songs. It happens sometimes and during Bruce’s concerts; I become an average spectator for the space of a song. I lift my fingers from the groups on the desk and I listen, I enjoy myself too. I have colleagues who sometimes do too much or not enough, but when your mix is done and everything is moving, what good does it do to tinker with what’s already working, adding that unnecessary ingredient? Let your artist have fun and enjoy his show! For example, at times Bruce voluntarily moves the microphone away from his mouth to give his voice a more ethereal, almost ghostly color. He absolutely does not want me to chase after him with some gain to catch it! I had to learn to recognize and respect his choices. Two years ago during a concert at the Rock’n’Roll Hall of Fame, in addition to Bruce on stage, I had John Fogerty, Billy Joel, Sam Moore …
SLU : Did you mix or listen to them? (laughs).
JC : Holy sheet! Can you imagine being the guy who mixes all those legends at the same time? I could not believe it, all those stars that rocked our youth on stage with Bruce introducing them, singing with them, while I’m at the console… I still can’t believe it (Coop is really in seventh heaven – editor’s note). The day I get bored with what I do, I will have to find another job quickly. My job is pure emotion.
The time to do the line check arrives and Coop requests a few minutes to do it. We take the opportunity to photograph as much as possible of what is probably, as of today, the largest L-Acoustics installation ever seen in Bercy. Besides the front with K1s and KARAs and the KUDOs in the rear, John forgot to mention a few delays for the back of the venue, a mere detail, just two hangs of 8 V-DOSCs that, together with the front fill dVs hidden in the structure, brings our count to about 160 enclosures. Now I understand better his very conservative choices of mostly dynamic microphones…
The house lights go out. Yes, but no, it is much more than a house blackout, much more, .The sound system has just shut down and only Coop’s FoH position, saved by its UPS, remains lit like a ship in the middle of the waves of audience that continue to arrive. I watch John’s eyes, he seems fatalistic and relaxed while behind the scenes they are getting ready to give, once again, some juice to the room. As he announced in welcoming us, the power in the building keeps acting up this 4th of July, but he is confident in his team to find a solution before the show. In three minutes flat, Bercy lights back up and we find the courage to grill John for a few more minutes…
SLU : Tell us how you met Bruce and how you got to be his FoH engineer for so many years …
JC : During a break as FoH engineer for Contry artist Wynonna, they sent me as the system for Natalie Merchant, whose manager was Jon Landau, the same as Bruce. As it happens sometimes, Natalie’s engineer ended up leaving the tour, and Travis George, the tour manager, asked me to take over and mix for Natalie. As Jon liked my work, he asked me to take over the FoH for Shania Twain, another artist of his, which I declined as I was already booked. The same fate happened to me shortly after when I was offered to mix around 132 dates of Bruce’s Reunion Tour between April 1999 and July 1st, 2000. For family reasons I had to turn it down. In late 2001 I picked up the phone and I called George Travis who is also Bruce’s tour manager. “George, I don’t know what your plans are with Bruce, but I’d love to mix the Christmas shows that are coming.” 11 years and 500 concerts later, I’m still here, I have not missed one of his shows and frankly I would like to keep on working for him until the end of his career.
SLU : And apart from Bruce, who do you work for?
JC : For Lionel Richie – quite a guy – Sheryl Crow, a very lovely singer and, when I am available, for Ringo Starr. What can I say, he’s a legend himself. Of course there’s a lot of us who work for these three artists, depending on our work schedules. I, of course, consider myself privileged because Bruce and three more great artists personally ask for me, which is extremely flattering. This does not prevent me from working with many other companies and artists and, who knows, maybe I’ll work again for Solotech.
SLU : Going back to Ringo, so you have had the chance to mix a bit of the Beatles…
JC : Actually two (laughs): for Ringo’s 70th birthday, I had also Paul McCartney on stage! I don’t want to brag, but I have had the amazing chance to work this job at this level.
SLU : When did you begin, exactly?
JC : In 1975. I finished my studies in 1976 and started to live off of it in 1977.
SLU : One last question: What did you think when you discovered your first line array?
JC : It was in the mid-90s, a V-DOSC, and I owe it to Brad Snow and his company, Snow Sound, in the north-eastern United States. I was floored. For the first time in my life I heard good sound everywhere in the room. Yet I have worked for many years with excellent designers with traditional speaker systems with optimized couplings, but what Christian Heil makes is by far the best in terms of waveguide and God knows it has since been imitated, but without, in my opinion, anyone succeeding at it! Meyer makes very good products and also d&b, but L-Acoustics is the champion and… (walkie-talkie sounds – Editor’s Note)…and now I gotta work (laughs).
Thousands of people waver, others perhaps a little less, with fingers crossed in the back. For the record, no interruption disturbed this magnificent show – 3h35′ of one standard after another like a parade and punctuated with an “encore” of more than 45 minutes. I didn’t doubt for a moment: Solotech has hit hard in its first collaboration with the Boss. Maybe it’s the Canadians who have a good ear or the company who knows how to select the best system engineers, but that huge amount of material nevertheless delivered a consistent and flawless coverage. One can only congratulate the Boss’ team, who have managed to successfully combine almost the entire L-Acoustics range. Something that, instead, did not happen on a previous Celine Dion tour at Bercy with Solotech, using Mica and Milo. Maybe because of the size of the room, which is small if compared to the usual stadiums, or maybe because of the levels on stage, the overall level was too high with 103.7 dBA Leq measured over 90 minutes of the first part and 104.3 for the whole of the encore. For the record, the next day the concert averaged 3 dB less. The power delivered by the K1 arrays with exhilarating ease seems to never end and its treble literally gushes out of the enclosures with precision and clarity. It should be handled with care. Coop creates a good mix with a voice that fits precisely in a perfect symphony from start to finish. Maybe it’s a little too compressed or over-produced, taking away part of the rock’n’roll, beat-driven brute force of the E-Street Band. This is especially true, I think, on Max Weinberg’s snare, which was a little too inside of the bass and the kick drum and that, for my taste, could have been a bit drier and more dynamic to take better advantage of low end of the K1 and K1-SBs on the sides.
The house lights finally come back up. Numbed by the rare intensity of a damn good show, the audience leaves with a big smile. The same smile is on Coop’s face as he turns to us, his eyes rimmed, and says : “The three hours we have just experienced are on me, I prefer to be paid for the remaining 21!”
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To our great delight the Wrecking Ball tour hit Paris Bercy for two days, allowing us to (re)discover a true American rock concert, traditional style, with a setup in which the audience surrounds the stage area and the singer for a total communion, which was an obvious pleasure to watch.
But since the sixty-year old rock star never ceases to reinvent himself and above all aims to satisfy his fans, the light show, once again created by Jeff Ravitz and the teams from Morpheus, in turn manufacturer, supplier and provider of technical support for the installation, had quite a few surprises in store for his fans from the get-go as well as for our eyes, which were focused on even the smallest projector rigged in the Paris venue.
For example the lighting design, always true to its warm whites and variations in intensity, innovates this year with the integration of Ayrton and Zap Technology LED moving heads, Clay Paky beams and even fog!
A brilliant production for 2012, which, whilst always focusing on the music and its performers, indulged in a few technological «infringements», whilst preserving its must-haves: colour temperatures at 3200K, “televisual” shading of the light ambiences, projectors assembled by Morpheus and spotlights galore.
The Morpheus technical lighting crew headed by Todd Ricci (right). Valère Huart, in charge of export sales at Ayrton (second from left).
We were therefore filled with wonder to meet the lighting team in situ, from operators to lighting director, not to mention the technicians. And to conclude, the icing on the cake, the American lighting designer Jeff Ravitz, who has earned numerous awards in entertainment and to whom Bruce Springsteen has been loyal for nearly 30 years, spoke to us about his choices that are always in agreement with those of the performer.
By introducing a large number of innovations this year, the large rig gives the wash projectors the priority by entrusting the major task of the show’s ambiences and colours to the WildSun 500 C, associated with other innovative LED sources such as the L2D2 LED head from Zap Technology, or the Philips bars and converters, which reduce the power consumption of an installation with numerous discharge lamps that use a lot of energy.
Todd Ricci, lighting director. He is the one who follows the tour and who adapts the lighting kit to the venues and Jeff Ravitz’s concept to the old titles that the artist chooses to sing.
SLU : Todd, what is your job here?
Todd Ricci : I am the lighting director and field designer. Each time we need to create a new design for specific songs, I step in. We adapt Jeff Ravitz’s concept as the days go by, in accordance with Bruce Springsteen’s wishes.
The Wildsun treat us to wonderful colours. This time, the concept places the band in the background in order to focus on Bruce Springsteen.
0998. Wildsun 500C Ayrton, VL3000 and VL2500 for stage lighting.
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SLU : Can you describe the kit you use in this concert?
Todd : Todd: We use a lot of Vari*Lites. But we also have Wildsun 500 C, which is a brand-new product. L2D2, an LED projector on a one-arm yoke by Zap Technology, with an interesting zoom system. It is one of the products that surprised us the most with the Wildsun 500 for what it brought to the show: beautiful blues and truly saturated colours.
Then, for spot effects and gobo projection we have the VL 3000, which illuminates the stage and the audience. For gobo effects and the bearings on the main stage, we have the VL 2000, which also illuminates the audience, and we have individual positions on the members of the band with the VL 2500. The foreground is taken care of by VL 1100 halogens with which we are very satisfied. In fact all of the Vari*Lite equipment has worked rather well this year. Under the stage, we have more Sharpys, under the stair riser and in front of the amplifiers, allowing us to achieve various views from different sources in several locations. On this tour, we have replaced the audience blinders with customised Par LED Morpheus, called CP7 using 7 Chauvet COLORado RGB petal-shaped assemblies to illuminate the audience. We have made a lot of major changes for this tour, compared to the three previous ones.
Mac Aura Martin, on and under the piano podium. A highly appreciated source at Morpheus for its small size, its feather weight and its output.
Sources can be found everywhere, under, on top of and across the stage: with LEDs for the Philips Color Kinetics, with lamps for the VL 2500 Vari*Lite.
SLU : The presence of LED projectors is important, does this technology appeal to you?
A lateral truss with, from left to right, L2D2 from Zap Technology, two Morpheus Fader Beams, a VL 2500 Vari*Lite, under the third FaderBeam two tungsten VL 1100 and a Panabeam XR2.
Todd : Yes, we have wide rows of LEDs. We considered everything that technology had to offer for this tour! We have many stage components marked out by LED products such as the ColorBlaze. We also use ColorBursts, just to provide a number of silver effects and lastly, we have the ColorBlast. You could say that we have quite a few Philips products on the show!
We have also introduced Mac Aura into the kit, just to add visual content that we were unable to achieve with bigger projectors.
With no fewer than 50 yokes, Wildsun 500 C are rigged above the Bercy stage (the kit allows for 20 more in stadiums!). Ayrton washes with efficient colour mix, which is possible thanks to their RGBW multichip and the ideal opening (45° max.), covering more than 95% of the concert’s moods.
SLU : Why did you opt for the Wildsun 500 C?
Todd : The particular aim with these Wildsun was to use their white, which could be a little warmer than that of most LED products, we have therefore defined a white that is more halogen-like. So, among all of the other whites in the show, it is difficult to distinguish the LED source. It is a processed white in order to look warmer, as all our key projectors are 3200K. We love the golds and the colours of the old CMY gels on the Morpheus Color Faders, since they are still the best colour mixing system today, but these have been removed from the kit. Obviously it is impossible to achieve this impression of golden yellow with an LED, which is what represented a major challenge. We managed to come as close as possible with the Wildsun.
Three trusses packed with very nice machines and notably a slew of Wildsun 500C, which are easily recognised even from a distance.
SLU : Did you run into problems with the Wildsun?
Todd : No, not really. That has just been a matter of practice. We received them, tested them very quickly, loaded them onto the truck and sent them to rehearsals. None of us was really familiar with them. I knew that we did not want to use a lot of parameters and therefore we did not immerse ourselves in the extended DMX mode. We decided that 24 channels would be our basis, which allows for a certain flexibility.
In fact, I am very happy with the general appearance of the sources. Everyone was immediately concerned about the LED and pixilation. And with the 4 in 1 chip (RGBW behind the same lens), this “pizza” effect is removed. The LED also pleasantly illuminate the crowd. Their saturation and colours on the audience are superb. The Wildsun have really performed well in this show. But there is always this big question with new technologies: how will the projectors operate after a journey in a truck on the roads in the USA or Europe? They have withstood it rather well. We have not had any mechanical breakdowns…Except for the issue of rain. The rain is our worst enemy when it comes to electronics. Especially where the connectors are concerned, just because of the humidity. It is a constant battle in lighting. But we will be working with a huge “stadium parachute” now in order to avoid these technical issues.
At the top of the ladder supporting the Sharpy Clay Paky, the L2D2 from Zap Technology with LEDs and motorised ZOOM on its single arm yoke.
SLU : Is the energy-saving aspect in this type of projector important to you?
Todd : Yes, it was, since I am one of those guys on the tour who is used to going the whole hog! I used all the current in the past, and therefore I know what it means to unwind many cables for many different projectors! Especially when you use traditional ones.
We like the fact that these machines are becoming smaller and smaller with the same yield in lumens.
When I plan, I like to have washes that are a little less powerful and I like to use my figures and content that I will integrate into the show without the need for 4 smoke machines and 4 fog machines on stage in order to see the spots. Therefore, I believe that the LED allow this to be avoided. Everyone tries to create a brighter wash. The VL 3500? They are so powerful that you can’t see anything else on stage. To me it’s counterproductive! I believe that we have found a great balance for this show with a blend of old school components and innovations. It is one way of balancing it all for Jeff.
The PanaBeam XR2, the pan/tilt Morpheus wash with continuo’s rotation, equipped with an MSR 1200, CMY, progressive CTO and zoom.
Light control with an Avolites Diamond II or Todd adjusts the projectors’ dimmers live, whose colours and movements are programmed in the full size Grand MA and called by John Hoffman.
And since Todd and Jeff like to combine innovations and safe bets, the «house» projectors run with new sources in a show reproduced on two lighting consoles, which also blend old and new school thanks to a Pathfinder interface allowing an Avolite Diamond II and a GrandMa to be linked, to manage the intensities by using the dimmer (it’s Todd’s job), and the effects and colours on the automatic console.
SLU : Do you have a lot of encoded memories?
Todd : We have just programmed more materials than necessary today. We like to regularly refresh these basics. During the last tour, we catalogued some 260 different songs that Bruce has performed! Since we have to have a wide array of positions to send whenever he decides:” Hey, I’m gonna sing this song since I haven’t done it for 30 years…,” whilst this song is obviously not encoded. We have to find the best general approach in order for it to appear to have been custom-made for him.
With 11 follow spots to ensure the performer’s and his band’s front and back, we were only mildly surprised to see seats fixed on the galleries/catwalks/trusses, very close to the stage, in the front, but also at the back, the stage surrounded by the audience, just like in an arena, showcasing Bruce Springsteen in great form, but more importantly visible by all.
SLU : How many follow spots did you plan for?
Todd : We have 11 Robert Juliat follow spots. The Topaze in the foreground and the Manon in the background for short focal lengths. We took the Topaze and replaced the discharge lamp with a 2000-W tungsten lamp. For concerts in stadiums we also have 4 Lancelot rigged on the outer towers.
Ludwig Lepage, from the Robert Juliat sales team explains the adjustment.
The four trusses and their marvellous machines. Notice at the top of the image, the three LED flowers designed by Morpheus with the help of Chauvet Colorado RGB sources. Three of the five foreground Topaze follow spots, the VL1100 and VL3000 can also be seen.
Ludwig Lepage (Robert Juliat) : The Topaze were transformed into 2000-W halogens (instead of an MSD source), since during the latest tours, Bruce Springsteen and his lighting designer found that his skin was not rendered well with a discharge lamp. Only the wiring inside has changed since the sockets are identical. So, all of the foreground of the concert has been converted into halogen whilst the background is still lit with discharge lamps.
Huge or not, a Bruce Springsteen concert lit by Jeff Ravitz is unique. Very sensitive to the audience and with a constant will to maintain proximity, or even intimacy with his audience, the Boss first and foremost wants to be seen by all.
That is why his lighting designer attaches a lot of importance to skin tones, shadows and the performer’s telegenics, filmed nonstop by a host of cameras that do not lose even an instant of the live performance in order to reproduce it on the giant screens surrounding the stage.
SLU : Working the foreground and the faces seems to be very important to you?
Todd : We have VL 3000 in the air and 2500 that are nonetheless the key to the backdrop for everyone. The foreground plays a lot with theatre angles such as, for example, on the keyboard players. It works well with the camera, with the various shooting angles used during the show to achieve a nice contrast with highly theatrical profile spots. You will notice that when Bruce is filmed, half of his face is in the shade and we reproduce this each time.
Of course, when he runs all over the stage, more light is on him since we want everyone to be able to see him.
The audience is used as a backdrop for an effect. Different lighting for the band and the Boss, which does not set off the instruments.
SLU : Do you adapt your lighting to the numerous acquisitions and broadcasts during the show?
Todd : Yes, definitely. That has been one of our concerns. It is strange since now, in the age of HD cameras, you also notice more skin hues on everyone. You have to worry about embellishing everything you possibly can, to make sure that you are not creating too much material that would be muddy. We have to keep full colours and pay attention to temperatures. It has become very important to Jeff and he is a master on the subject. He is a true specialist at this type of thing. He went as far as to put CTO corrector on the colours in order to make sure that the achieved hue was the correct temperature. He is one of those guys who thinks of all these things. It is probably the reason why he doesn’t sleep much! These are areas in which he is particularly brilliant. I have learned so much from him and from his job.
Enough to make us eager to speak with the man himself, Jeff Ravitz, lighting designer for the Wrecking Ball tour.
SLU : Can you tell me your story? How you started in the show lighting desing?
Jeff Ravitz : While I was a student, I worked in summer theatre and was influenced by the great lighting designers I met. Then, shortly after I finished college, I saw a Grateful Dead concert that changed my life. The lighting was «visible», unlike theatre lighting, which, we were taught, should be «invisible». That show was so exciting, beautiful, and expressive, that I dreamed of doing something like that myself. Three weeks later, I answered an advertisement in a local arts newspaper for a position as a lighting designer for a recording group going out on tour. I jumped at the opportunity and got the job. We toured all over, playing clubs and universities, but we also were the opening act for many headline groups, and that experience was invaluable. A few years later, I toured with Kiss as a technician, which furthered my education. And then, my major break was the chance to design for the rock group, Styx. We created highly theatrical shows and in 1977 they were the biggest American touring band. It was fun and it propelled my career forward.
The audience is used as a backdrop for an effect. Different lighting for the band and the Boss, which does not set off the instruments.
SLU : What is your idea of light?
Jeff Ravitz : Light is what reveals our world to us, visually. And the way it reflects off an object, whether that is a person or a wall, can strongly affect us. It’s all about shape, balance, and three-dimensionality. How something is sculpted out of light can directly affect our mood and psychology. For instance, when light falls on a mountain at sunset, or at mid-day, we have a very different reaction, subconsciously. Our whole world is a painting and it can be flat and dull, or dimensional and rich. As humans, we react to this.
SLU : And for a rock star show?
Jeff Ravitz : A concert–a rock show–depends on lighting to help the audience know what to look at for any given moment. Like a cinematographer helps choose whether a movie audience sees one person or the entire roomful of people, and how they seen them, for a concert we are guiding people through the story of the show, of each song.
As lighting designers, we make a statement with color, with angle, with brightness and darkness, and with the use of movement and texture of light. It is our job to highlight the action and to help people that are far from the stage to know what’s happening. Lighting also keeps pace with the dynamics of the music, and accents it to help connect the audience with the rhythm, the flow, the feel, and the message. We take the mood and magnify it. Lighting delivers the music to the eyes of the audience.
Total communion between the performer and his audience: a true moment of pure American rock. It is very rare to see so many happy adults going wild.
SLU : Especially for Bruce Springsteen?
Jeff Ravitz : We all know Bruce Springsteen could put on an exciting show with no lights. But, as I said, we use lighting to help accent the big musical moments, and to visually illustrate the mood of his words and music. Bruce’s performance and songs can be very dramatic and are quite conducive to highly theatrical lighting. Bruce is a fan of good film cinematography and photography, and he has instilled the appreciation of those art forms in me. So, it becomes a matter of «revealing» Bruce and the E Street Band members in ways that depict a «point of view», a unique way of presenting them for any particular song that they are playing. We use the psychology of color to make a statement about the emotions and the story line of a song. We use texture and broken-up beams of light. And we use the angle of light very deliberately, sometimes to make the musicians look good, natural and happy, and sometimes to make them look troubled, or angry, and so on. Finally, the music has many expressive accents and rhythms, which we try to play along with.
Exceptional depth thanks to a multitude of sources and to Jeff Ravitz’s know-how.
SLU : Does Bruce Springsteen has specific demands regarding: the lighting of the team of public and of itself?
Jeff Ravitz : Yes, he insists that the band member get a lot of attention and care with lighting. They are part of the overall stage «picture» and even though they sometimes can be more in the background when Bruce is doing something where he needs to be the main focus, they always need to be given the proper lighting treatment.
Bruce loves the audience, and their energy makes him work and play and perform harder for them. And, they become part of the show, also. When they are all singing along with him, they must have good lighting in the appropriate color for the song. The audience reacts to this by being even more responsive, and it goes back and forth between Bruce, the band, and the audience. Of course, sometimes, it’s important for them to be in the dark so only Bruce and the band are visible.
Bruce Himself when he is not doing something particularly dramatic, he does like to look good on the screens and to the audience. I work hard to make sure the lighting angles are as flattering as possible, of course, so he does look his best. But, he does not like to look «flat», meaning he likes the lighting to create interesting shadows on his face and body. We also are very careful to make sure he has good light on him from behind so he appears to «pop» out of the background, and not to make him «blend in» to the background.
Bruce loves all colors and he trusts me and my team to choose the best colors for each moment of each song. But, sometimes, he has a very specific idea for the color of a song and we are happy to oblige.
SLU : Does Bruce has specific requests regarding lighting equipment especially LED projectors, smoke or haze?
Jeff Ravitz : Bruce does not have any preferences about lighting equipment or projectors. It is one area he allows me to decide on my own. I do try to show him our newest equipment after its been added to the lighting system, just to keep him familiar with what I’m doing. And he is very happy to know how much energy we are saving by the use of LED.
Sharpy’s batons are certainly present for the first time near the Boss but still discreet
Bruce has long worried about the effects of smoke and haze on his voice and therefore, it has never been approved. However, this year, we researched some hazers that are used on Broadway shows where singers are also quite sensitive to the issue of haze. We tried it in rehearsal, placing the machines far from the stage in order to achieve a very, very slight amount of haze in the air, just to enhance the effects of patterns and light beams in the air. Management is very happy with the results and Bruce has not complained that it has bothered him or his voice.
SLU : What do you think about Ayrton Wildsun, why did you select it?
Jeff Ravitz : I’m a big fan of the Ayrton Wildsun. I think it’s a very good fixture.
I have been wanting to explore the use of a high quality LED fixture to replace our automated wash lights, because the new technology offers many advantages. Lower power consumption and less maintenance are important issues, as well as the benefits of additive color mixing and very fast color changes. Our previous wash lights had tungsten lamps. Bruce liked the warm, natural color that they provided. Therefore, I wanted an LED light that would offer a similar foundation of color balance.
Many of the LED fixtures are smaller in size. I wanted a slightly larger LED fixture to add a sense of bigger scale to the overall appearance of the lighting system.
Morpheus Lights helped me to choose a fixture by setting up a very extensive comparison demonstration of all the best LED moving lights. We spent two days metering and comparing color, appearance, speed and smoothness of movement, and brightness levels. The Wildsun’s white LEDs are warmer than most of other lights we tested, which means the overall base of mixed colors would also shift a little bit warmer, which I liked. Its other colors are pure and bright, too. And the overall diameter of the LED surface is larger, too, just like I wanted. That means the beam is fatter and the overall light output is brighter. The fade-up and fade-down could be adjusted to be as smooth as an incandescent fixture. The cost of the light was another deciding factor. The Wildsun was affordable, which was important, because we needed a lot of them. Morpheus and I agreed the Wildsun offers great features and attractive value.
SLU : What do you think of the wildsun zoom, its speed, its aperture?
Jeff Ravitz : The Wildsun pans and tilts are extremely fast. Our movement effects, and the ability to quickly change focus from one location onstage to another are now greatly improved.
The Wildsun zooms to a wide 45 degree flood which covers a lot of territory. And it’s gives a smooth field of light.
At 11 degrees of spot focus, the light is extremely bright, tight and results in a very strong beam of light.
During the show, I often change the zoom of the lights, as needed for any particular cue. But I do prefer a medium sized zoom sie that works for most cues.
SLU : What is exactly the mission of Wildsun 500?
Jeff Ravitz : I use the Wildsun 500 as the base layer of color and ambience for the overall onstage lighting. The Wildsun are used to make a very strong, full-stage, color statement that I can change quickly as the music or mood changes. It’s the soft texture I use in counterpoint to the quality of the sharp, profile fixtures.
SLU : Will you select this Wash on TV sets?
Jeff Ravitz : can make use of this light for TV shows. Since our shows are shot in high definition for the screens, I can see that the Wildsun work well on-camera.
And between the screens, follow spots, other spots, the new LED sources and the old Morpheus moving heads, not to mention the strobes that also made their debut during the 2012 tour, some 350 projectors illuminate the Bercy stage tonight.
And even if sometimes the Sharpy’s batons or spot beams are not really recognised due to fog, they are certainly present for the first time near the Boss but still very discreet, this is not the goal pursued by the lighting designer.
Jeff Ravitz in fact designed traditional rock concert lighting, American style, multiplying the scenes with few lights dimmed, favouring a constant mood, highly coloured and nuanced, helped by the superb Wildsun colours, which form an integral part of the show. By truly showing us all of the performers present on stage, thanks to the numerous profile spots and the VL1100 installed in fore- and background, he creates a certain intimacy, enhanced by a very warm ambient colour temperature.
So yes, we are surprised not to find ourselves amid beams galore and radical changes between songs, but we are filled with wonder about the consistency of it all and the integration of new LED sources next to the traditional Vari*Lite spots and Morpheus projectors we discover. Big L2D2 LED moving heads are spectacular and the whites of the Ayrton moving heads truly add value to a lighting design, which attaches as much importance to the accuracy of the colours as to the variations of white.
We had gone to see a great performance, and we discovered a whole way of working light, of moving the artist and his audience to the heart of the show and to take up a large venue such as Bercy, to our great delight. A truly enjoyable and generous live performance.
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Undisputed and highly respected leader on the high-end analog console market, Midas took its time before tackling the growing sector of digital consoles. After a strategic observation period, the British firm finally unveiled in 2007 the XL8, an uncompromising digital mixing system, carrying over all of the audio qualities of its illustrious predecessors (Heritage, XL4, XL3 etc.) but also some new, innovative and original operating solutions. Unfortunately, due to its size and its elitist price positioning, five years after its release, the XL8 is still an object of unfulfilled fantasy and desire for most sound engineers.
A comfortable and bright work surface
Because of economic reality, though, Midas – now part of Music Group (Behringer) – has been compelled to offer a range more in line with available budgets and market needs, without losing its soul.
We chose to test the smallest*, the most recent and also the least expensive in the PRO range (which now includes five sizes): the PRO2C, where “C” indicates “compact”. So, as the manufacturer promises, has this lastest addition kept something of the legendary XL8 in its genes?
* Actually, they are also now introducing a PRO1.
PRO2C
is a shortened version of the PRO2, featuring twenty faders instead of 28. Three of these are dedicated to mains and one to monitoring. It weighs 37 kg and has a footprint of 88.2 cm (L) x 73 cm (D). For a so-called compact version, this is still a lot both in terms of weight and size. The dedicated flight case is solid and well crafted, well designed with external bumpers, internal padding and various internal compartments… but it is heavy!
The console can manage 64 channels of processing distributed in 56 MIC/Line inputs, 8 aux returns and 27 phase-coherent mix buses (aligned to the sample), 16 of which can be configured as auxiliary mix or sub-group buses and 8 matrix buses. Matrices can be fed equally from buses or from input channels. They can therefore be used as additional aux buses. All the buses can be configured as a stereo pair (except mono, of course).
In its basic configuration (the one we tested), the control surface is supplied with the DL251 stage box (48 MIC/Line inputs and 16 outputs) and with two 100 m reels of CAT5e network cable.
The on board in/out facilities and, on the right, one of the two redundant power supplies of the console.
The DL251 remote stage rack has three AES50 ports (2 +1 redundancy) and an Ethernet control port.
Locally, on the control surface, you have access to eight balanced XLR input/output connectors, two AES3 in/out, two L/R stereo monitor outputs, XLR outputs for mains (L,C, R), six AES50 ports, MIDI ports (in, out, thru) and the usual talkback in and out. There is also an Ethernet control port, a USB port and a DVI video output (screen). In addition to the DL251, the console can interface with the DL252 (16 inputs, 48 outputs), or with other stage boxes of the brand (DL351 and 451) and also with the DL431 splitter (24 inputs to 5 splits) and, of course, with the Klark-Teknik DN9696 digital recorder (96 tracks at 96 kHz) and the DN9650 format converter to convert AES50 to EtherSound, Dante, MADI …
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Segmented into two plates forming a vertical angle of 22°, the control surface is built around a solid steel frame similar to those used for the analog consoles of the same brand. For a console with only twenty faders, its dimensions are quite generous, facilitating the integration of the provided features with relatively spacious distribution of the various commands and controls.
The control surface is divided into specific geographical areas.
The upper left is dedicated to the LCD control panel, whose brightness can adapt to ambient light. Emphasizing size and visual comfort, Midas did not want to integrate a touchscreen. However, to expedite the operator’s work, many physical controls have been implemented along the edge of the visual interface. Thus, immediately to the right of the screen you find keys for quick access to different sections of channel parameters while below it there is a row of eight assignable encoders, scroll arrows, a trackpad and also shortcuts for menus that are quickly accessible. There is even a small accessible keyboard under the surface for text.
A keyboard is accessible through a panel in the control surface unit.
The upper plate of the control surface, to the right of the GUI with, on the left, the channel parameters section and, on the right, the area dedicated to the auxes, monitoring and matrices.
To the right of the LCD is the area for setting the parameters of the currently selected channel. This area, inspired by analog consoles, enables comprehensive and almost immediate access to all parameters, with the exception of the equalizer, the four bands of which are available only one at a time.
Still on the top part of the surface, the right side is dominated by management of the aux and matrix output selectors (select, mute, cue, talk), except for the last row, which is dedicated to the communication and listening module.
The bank of configurable master faders and the three mains (L,R,C).
The lower part of the control surface hosts the faders and their large and colorful labeled selectors. On the left is a first bank of 8 faders which, in basic mode, is mainly dedicated to the input channels.
In the center, a second block of 8 also allows you by default to extend the simultaneous mixing of input channels to 16. Simply by switching mode, the faders become banks of AUX, VCA or MCA masters or graphic equalizer controls. We’ll go into more details on these special features as well as on those of the “Mute” and “Population” groups located just above them that are exclusive to the consoles of this brand. Finally, on the right, there is a fader dedicated to monitoring and the other three L, R, C Masters. These can be configured in an alternative “B” mode. In this mode, they become channel faders and you can either assign the management of these channels to a second operator or further expand the number of available direct access faders.
Despite a logical and very well studied layout, the control surface and its operating software will require a significant amount of time for the uninitiated user to adapt. The fault lies with very special ergonomics that require, on the one hand, taming a portion of the console topology, but also – and especially – learning the role of some navigation controls that are very specific and essential to an advanced use of the various modes of operation. However, well aware of the difficulties that could await the young Padawan encountering the dark side of the force, Midas provides a basic mode of operation in which a large number of advanced features are inaccessible. This clamping, very useful at first, lets you walk only the beaten paths of ordinary operations and, in the long run, it will not satisfy the Jedi Knight in you.
The selection of navigation modes, the user has the choice between normal or advanced.
So, without further ado, I suggest we access the more advanced operating mode via the user preference menu and then, address ipso facto the key concepts that set the Pro2C apart from a more basic console.
Latency management
For a given sampling frequency, the audio signal going through a digital channel has both a fixed, irreducible latency inherent to the AD/DA conversions and an additional variable latency directly dependent upon the various processes inserted along its path.
User preferences, latency presets
. If two initially correlated signals accumulate different latencies, their sum in one bus is likely to generate a comb filtering effect. To avoid this undesirable effect, a compensation system introduces a delay on all channels other than those affected by the treatment. The Pro Series features 4 preset latencies, each optimized for a specific use.
The FoH preset that includes comprehensive integration of all processing causes a significant latency of about 9 ms. In the case of a reinforcement system, such a value is perfectly tolerable, as it is imperceptible to the public, however a shorter latency is essential for a monitor. Especially that of a singer using an in-ear monitoring system. The performer’s inner ear receives a mixture of his voice being instantly transferred through bone conduction and his voice being conducted through the air, but delayed by the latency in the audio system. With as little as a 2 ms delay, inherent filtering changes the spectrum in the lower mid-range register enough to be perceived as bothersome (as a buzzing or weak voice). The preset “Monitor Mix (low latency)” maintains the latency of the PRO series below this critical point.
DSP resource management
Resource allocation options for the virtual racks.
DSP resources are not unlimited, the operator must distribute them between racks of graphic equalizers and the effects.
For example, up to 28 graphic equalizers can be used simultaneously, but in this case, a single effect will remain available.
The virtual graphic equalizers.
A faithful emulation of the famous Klark-Teknik DN370, each equalizer can be controlled in advanced mode using the faders of the “VCA” bank and their horizontal scroll keys. To use them, you simply activate the command “GEQ” and then select the bus on which the graphic is to be inserted.
The virtual effects and vintage reverb DN780.
For the effects rack, the user can choose among 8 types ambience effects (reverb, delay, “harmonizer” etc.) and insert effects (8-channel dynamics processor – gate, dynamic filters…). Six of them can be used simultaneously, leaving 8 graphics still available in the EQ rack. For reverb, a major element of the rack effects, Midas chose to emulate the Klark-Teknik DN780. Like the original model, this virtual clone generates a sound with poor density and muffled reflections in whatever program you use, and a very metallic tail typical of digital reverb of the early ’80s. On percussive sounds, however, it can be very effective, but if you like natural reverb, you will likely require an outboard processor.
Input/Output Patching
If, like me, you are accustomed to a matrix representation of virtual patches, the Pro series may seem to you at first rather unintuitive and confusing. However, once you master the concept, you will find routing extremely flexible, reliable and fast.
Selective deployment
As the number of available direct-access faders is particularly limited, an effective way to navigate among the 56 (64) console inputs is to assign them to a group. Once recalled, only the channels associated with it will be deployed under the screen, providing access to their online parameters.
Selective deployment of the VCA group "CHORUS"; only the 4 channels involved and their associated effects returns are deployed on the screen.
The identification of the channels is by their label and color; the electronic equivalent of markers and tape. Associated to a selective recall of groups, the methodology is much more efficient than recalling a channel by number from the layer to which it belongs. The selective deployment applies equally to recalled VCA groups and POP groups.
POP groups
Unlike a VCA group master, which controls the gain of all associated channels, POP (population) groups have no audio function sharing. POP groups (6) are simply used to associate channels by their role for simultaneous deployment on the control surface. For example, one can imagine a first population consists of faders essential to the intro of a song and another consisting of those of verse… Like a VCA or Mute group, the programming of a Pop Group is extremely easy: you need only hold down its selection button while selecting the channels that you wish to add to the group. POP, VCA and mute groups are memorized and saved along with scenes.
MCA groups
MCA groups (Mix Control Association Groups) are very similar to VCAs, but they are specific to auxiliary mix buses. The use of MCA groups is only possible in the advanced operating mode. If the button is engaged and an MCA mix output is selected, MCA faders take the place of the VCA faders. Each one of them then controls the contribution to the currently selected mix bus of an associated channel assigned to that bus. This exclusive Midas feature may be conceived as 3D blocks of 8 VCAs arranged in 24 layers (192), each for a different mix. This powerful tool demands a lot of organizational rigor from the user but, once mastered, it allows you to build monitor mixes with unprecedented flexibility.
Hidden faders in aux send mode
The option of hiding unassigned channels.
The “send on fader” mode is trivial when a MIX output is selected. Midas, however, differs from its competitors by offering this mode (improperly called “Flip”), a clever option that allows visibility of only the channels routed to the selected mix.
With the selective deployment modes that it provides, PRO2C brilliantly circumvents the operational constraints inherent to the small number of faders. By simultaneously recalling only the channels on which he should focus, it makes the work of the sound engineer much quicker and more reliable.
The PRO2C preamps confirm the quality of Midas preamps in general, although these are not the same as those of Pro6, Pro9 or XL8 (or the related stage boxes). They exhibit, in particular, excellent characteristics of common mode rejection, as we measured 90 dB, 97 dB and 87 dB at 40 Hz, 1 kHz and 10 kHz respectively, using the conventional method – i.e. with balanced source impedances on each line (75 ohms per line in 150 ohms symmetrical). When we proceeded according to the method recommended by Jensen’s Bill Whitlock and standardized by the IEC, unbalancing the impedances of the two lines (much closer to reality in the field), we still get 82 dB, 79 dB and 60 dB at the same frequencies, which is remarkable and pretty rare.
Figure 1a : Amplitude/frequency response of an analog input to a (direct) analog output with gains (trim) set at extreme and middle.
The balanced input impedance is 10 k ohms, as Midas has opted for a solution adapted to both mic and line sources, since there is no Pad. This penalizes somewhat the noise at the input at maximum gain (EIN), which we measured at -127 dBu NP and -129 dBu A-weighted (@ 150 ohm source impedance) but avoids switching and, as the preamps accept a maximum level of +25 dBu (gain: -2.5 dB) just before clipping (mild 0.5% THD), there is still headroom on the line level sources. The red LED indicating maximum input level will light at +17.5 dBu, representing 7.5 dB of safety buffer before the critical threshold.
Figures 1b : The response of the filters – high-pass and low-pass – with the two possible slopes.
The gain trim is adjustable from -2.5 to +45 dB with +10 dB maximum post gain, or a range of 57.5 dB (55 dB max). As shown in Figure 1a, the frequency response is identical regardless of the gain from minimum to maximum, the pre-conversion analog stages are excellent. On this curve we note that, while working at 96 kHz (40-bit floating point DSPs) internally, the analog filter limits the bandwidth at about 26 kHz with a second order slope well before the steep cutting digital filter, which intervenes at less than fs/2, as it should.
Figure 2 : The responses of the shelving filters in the three modes. They adhere precisely to the parameter settings.
In terms of distortion, both harmonic (THD) and intermodulation (IMD SMPTE), we saw very good performance, as well. On a “slice” of input to direct output, with maximum gain and an output of +15 dBu, the THD is 0.0018% respectively at 40 Hz and 1 kHz, 0.0026% at 10 kHz (test band 80 kHz) and 0.0013% in the same conditions at medium gain. With the master output just below clipping (+22 dBu output), it peaks at 0.005% at 40 Hz and 1 kHz and 0.008% at 10 kHz. At nominal level (+4 dBu), THD is around 0.001%! Intermodulation, in the worst case, is less than 0.009%. There are certainly no worries as far as distortion is concerned, and your ears will confirm this; it sounds great!
Figure 3 : And the same goes for the parametric EQ.
The responses of the equalizers confirm the settings both on the shelving filters and the parametrics. The curves in Figure 2 show the three modes of response of the “Baxandall” at maximum amplitude (+/-16 dB): classic – with variation of 3 dB at the center frequency and a slope of 6 dB/oct beyond; warm – soft where the action is smooth; and bright – deep where it is a little more pronounced.
Figure 4 : Note the cleanliness of the action of the compressors.
The curves in Figure 3 illustrate the action of the parametric EQs at maximum amplitude (+/ -16 dB) for different center frequencies and bandwidths (Q). The settings are respected if we consider normal interactions between bands on the corrections within an octave at +16 and -16 dB, for example.
Just out of curiosity (but not wasted, mind you), we conducted a measurement of crosstalk on two adjacent channels on the DL251 rack. The “leakage” of one channel to the other is -111 dB at 1 kHz and -108 dB at 10 kHz; at 20 kHz it is still -101 dB. Therefore, there is no coupling problem, neither through routing, through power supplies nor in physical positioning; the crosstalk remains well below the noise floor.
Figure 5 : The limiter with three knee options. No artifacts.
As for dynamic processing, note the perfect conformity and, especially, the linearity of the curves once the threshold is crossed, except of course the “staircase” due to the steps of the sweep generator in Figure 4 for the compressors and, in Figure 5, the limiter.
We highlighted the three types of knee available: hard, medium and soft knee. Figure 6 gives an idea of the action of the attack of the four compression modes offered by Midas: adaptive, creative, vintage and corrective corresponding to different types of analog compressors (VCA in RMS or peak mode, optical, FET etc.).
Figure 6 : The intervention of the different compressor modes. You can clearly see the differences, particularly between RMS and Peak modes.
To our knowledge, Midas is the only manufacturer of digital consoles – and this includes the PRO2 – that perform a time realignment (latency compensation) according to the processing operations, to the various inserts and according to different modes of operation. The brand boasts realignment accurate to the sample (at 96 kHz or 10.4 μs) so we conducted a measurement of impulse response between a direct output and an output after inserts to verify the time realignment (in FoH mix mode). The result is shown in Figure 7 where the measured delta time is 13 μs, which corroborates the statements of the manufacturer.
Figure 7 : The latency compensation is accurate to the sample at 96 kHz.
At the same time, we made several latency measurements, using the same method, to highlight delays depending on the choice of proposed realignment, to see the contribution of conversion stages (A/D and D/A) and to see the latency due to AES50 transmission (see box). The results are reported in Figure 8. It was observed in particular that the latency due to conversions plus the transmission AES50 is 0.6 ms (0.59 ms according to the manufacturer’s data).
Figure 8 : On a direct output, with and without insert, in latency compensation modes
All samples from different sources are temporally aligned before mixing, which avoids any adverse effect of comb filtering in the case where the signals of certain channels are correlated. This is obviously highly unlikely on microphone signals but it is possible on recorded tracks.
On the output side, the maximum level delivered is 22.5 dBu with a clip LED that turns on at 17.5 dBu. We assessed the output impedance at 56 ohms, great for dealing with long cables or low impedance inputs, even if this is less common today.
It is a proprietary protocol (Klark-Teknik) for multichannel, high-resolution, point-to-point audio transmission (and not an audio network in a strict sense) exploiting the physical layer of 100 Mbit/s Ethernet and thus the connection and wiring associated with either Cat5e or CAT6 cable for connections up to 100 m. It has been standardized by the AES as AES50 (like MADI is AES10). Routing is centralized and not distributed, and the deterministic protocol uses time division multiplexing (TDM) of Ethernet frames with the possibility to transmit control and other data (with a throughput of 5 Mbit/s) in packet switching. The clock is transported independently on another pair, which ensures a very low jitter. Latency is fixed at 68.02 μs for frequencies of 44.1 kHz (3 samples) and multiples and at 62.5 μs for frequencies of 48 kHz and multiples (eg. 96 kHz, 6 samples). Midas/Klark-Teknik use exclusively for SuperMac and HyperMac a sampling frequency of 96 kHz, which already decreases latency due to conversion A/D and D/ A. Finally, the protocol implements error correction (Hamming code), without loss and with detection by CRC. Together with the mixing of data, this allows robust and reliable connection even over a poor link.
The PRO2C, like its predecessors, employs a steel frame and silkscreened, sheet-steel panels as well, which certainly gives it strength but, obviously, at the expense of weight.
The console uses two extractable power supplies with PFC (power factor correction), which, of course, operate in redundancy, so we can operate with two power supplies simultaneously or work with one. In the latter case, the ventilation is noisier. When the two power supplies operate together, they distribute the energy provision and the forced convection does not enter into function. On a console, the average consumption does not vary much. The stage rack DL 251 also has two power supplies for redundancy but they are not extractable.
For commands, rather than rotary encoders, Midas uses high-quality potentiometers and A/D converters, giving the same feel as a good old analog console. We have not opened the beast, as we usually do, but this console radiates careful construction and reliability and our measurements attest it. It demonstrates that we can transfer serious manufacturing in China, especially when we control the entire production chain, and the quality control and processes remain “proprietary” …
The PRO2C is a nice tool, that can be a bit confusing and not very intuitive at first for a user not accustomed to consoles of this brand. But once you have thoroughly explored it and put your hands on it, you will not regret the time it took to learn to use it.
With the various operating modes it offers, the PRO2C brilliantly circumvents the operating constraints inherent to its small number of faders. Better yet, by simultaneously recalling only the channels on which the operator must focus, work is considerably faster and more reliable and one eventually forgets that the control surface does not allow simultaneous deployment of all channels.
The standard configuration (console plus the DL251 plus the 100 m reels of Cat5e) costs around 22,000 euros (in France), which seems very reasonable in light of its operational potential, its performance and its characteristics. We regret, perhaps, the size and weight of the console and its flight case, which require two people (even for a compact) to move it and set it up but, as a tradeoff, it offers strength and ergonomics – considering the spacing between faders, etc.
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There are now three models in the Wildsun 500 moving head wash family of luminaires. The 500C, the first in the range, RGBW with a 11° – 45° zoom and an average white of 4000K has met with true success and has already been adopted in the Dushow and Phase 4 parks, among others, and has also been included in the kit for the Bruce Springsteen tour with Morpheus. There is also the 500S (S for Stage), RGBW, with a tighter 8° to 40° zoom and a cooler white at 6700K to provide extra pep to the beams. It is this model that we have chosen to look at more closely.
There are also the K, ultra bright, white light, with one (very high power) 3000K warm white diode under each optic for the K3, a single cool white 7000K diode for the K7 and four white chips, two of which at 3000 K and two at 7000 K for the KD, which offers a range of whites.
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This is quite an impressive device, not necessarily in line with the current trend. There is no miniaturisation here, one senses that the focus was on the effectiveness of the device: a bulky head with a large diameter, obviously oversized optics and a large and sturdy moving head bracket happily overspilling its base.
Its weight also tells us that we are dealing with one serious piece of equipment: 23 kg. The aluminium and steel plates are omnipresent, the sign of a very robust construction. The plastic covers are particularly well-finished with the curved profile and sleek design that we have become accustomed to with Ayrton.
But the most striking aspect after the first glance is the rounded head, with 31 large crystal eyes in the front and a curious system of black fins hiding behind, through which we can see a tangle of copper and aluminium… We will return to this in more detail later.
As mentioned above, the Wildsun 500S is part of the moving head Wash family. It is actually a special version of the Wildsun 500C, the first in the series. Just like its twin brother, it has a zoom and a colour mixing system for mixing red, green, blue and white, but the Wildsun 500S stands apart for its significantly narrower X5 zoom (8° to 40° according to the manufacturer), and also and especially the choice of a white light source with a 6700K rating, instead of the 4000K of its alter-ego. This version seems to be designed for stage use (hence the “S” for “Stage”): a narrower zoom in effect means an increased range and the cool white is intended to reinforce the impression of brightness of the projector.
Separate control of the 4 LED light rings adds effects to this wash.
The machine has 3 concentric rings of LED light sources plus a central LED. These 4 sets can be controlled independently or in symbiosis, which adds a very interesting “effects” dimension to this projector’s capabilities.
It is equipped at source with a nearly universal wireless control system, and the firmware may be updated if necessary through the DMX line, via a dedicated housing.
There are 3 DMX control modes on offer, allowing the user the choice of 17, 24 or 49 DMX channels for a more or less evolved level control.
Lastly, what we find on unpacking deserves some attention: a sturdy brown cardboard type sock protects the camera … And a nice surprise inside, in addition to the variety of accessories such as the pair of “Omega” hooks, a safety sling and user manual in English/French, there is the projector comfortably housed in a black casing moulded perfectly to its shape. The foam protection, which comes as standard, is stamped with the Ayrton logo and is reusable and designed to facilitate the manufacture of flight cases, while providing optimum protection for the machine. A bright idea that will delight providers.
The machine is delivered in a carton containing this famous damping foam that is specially moulded to the shape of the device.
This includes the essential functions of the device.
A thick plastic (polycarbonate) glass, housed in a rounded wide black plastic cover protects the full light output. The closed design of this set-up means that the optical system is kept free of dust. 4 screws allow for easy removal of the casing, thereby uncovering the movable plate of the zoom, which houses the 31 LED sources that are visible from the outside of the device.
One of 3 precision systems that allow for the guidance of the zoom movement. Distributed over 120 degrees, they ensure the alignment of the zoom lens with the collimators during movement. Clockwork precision!
There are 3 micro stepper motors that ensure the movement of the zoom plate. Their run is reduced.
Three small stepper motors, distributed at 120 degrees, allow the movement when displacing this plate, while 3 sliding guides ensure perfect alignment of the zoom lens with the collimators located underneath, regardless of the position of the plate. Indeed it appears that the zoom lenses fit into the collimators to form one piece when the zoom plate is in the lowered position (narrow zoom). The manufacturer did not skimp on the mechanical solutions used for the adjustments: solid guides are provided with precision ball cages sliding along large diameter calibrated rods, while the motors are “soft” mounted.
As for the collimators themselves, the primary optics that channel the naturally wide beam of the LED sources are very unusual pieces, consisting of 45-mm-diameter blocks. They are grouped and maintained on a support plate machined from a single piece, which is directly attached to the head’s aluminium frame. And finally, when removing the plate and all associated collimators, the 31 Ostar high-power 4-colour LEDs from Osram are revealed, combining red, green, blue and cool white in a single housing. This device totals 124 LED units or “chips”. The 31 “multi-chip” LEDs are welded directly onto a single round MCPCB (Metal Core Printed Circuit Board), with an aluminium core (or similar material), in order to allow optimal heat transfer between the LEDs and the cooling system. It is an unavoidable fact, LEDs get hot! Very hot in fact, since in general nearly 75% of the power consumed is transformed into heat. And it is well worth knowing how to dissipate the heat if you want the LEDs to last.
4 screws to remove the front cover and the mechanics of the device are revealed: 31 optical systems in 2 parts, with unusual dimensions (45 mm in diameter). The front part is mobile and constitutes the Zoom effect.
The (MCPCB) board, equipped with 31 Ostar RGBW multi chip LED by Osram.
Moving to the other side the head, which is dedicated to the cooling system, it is here that we see the manufacturer’s know-how on this point.
The rear frame, one perforated piece with numerous large fins, somewhat resembles a salad bowl. It is made of cast aluminium painted black.
It provides a protective layer enclosing the actual cooling system, which consists of a stack of thin layers of aluminium in which copper tubes are embedded. This is the heart of the cooling system: radiators known as a “heat pipes” using the principle of heat transfer through pipes and coolant. Three heat pipes of this type form a ring, each representing a 120° segment of a circle. This system, now standard in certain high-tech products (including the IT world), is still very anecdotal in the field of lighting. It works as follows: a phase-change liquid/gas mix is sealed in hermetic tubes, one end of which in turn is in contact with the heat source to be cooled (in this case the board supporting the LEDs, fixed in turn to a thick aluminium plate forming the base). Under the influence of heat, the mixture contained in the tubes becomes gaseous and therefore “pumps” the calories. It then disperses in the pipes to the other end where the fins are installed, which in turn are ventilated and cooled by the single fan fitted to the device head. This cools the mixture, which becomes partially liquid and returns to the heat source, and so the cycle continues.
A single fan cools the heat pipes that are in direct thermal contact with LED sources. It is isolated from the frame by
This closed-circuit system should not require any special maintenance. The fan used for the heat pipe is mounted on flexible fastenings in order to avoid transmitting its vibrations to the device and to reduce noise.
On one face, the base comprises a connector panel, equipped with classic XLR 3 and 5 DMX IN and OUT connectors, the power switch, fuse holder and a retractable antenna system for the wireless DMX solution installed on the device at source: a very useful little refinement.
The basics are there: Direct power supply, XLR 3 and 5 pin In and Out DMX connectors on the bases, on/off switch, fuse holder, and the retractable antenna for the wireless DMX system, well protected against impacts in its housing.
The antenna in working position. It is articulated and swivels 360 degrees.
The front panel on the base is dedicated to the man machine interface. In addition to the colour LCD graphic display that really looks great, albeit a little small (but the device menu is still legible), there are 6 keys for the menu navigation and a dedicated button to start the display when it is running on battery power…. As the device has this accessory integrated, the settings can be selected in a hurry on removal from the flight-case.
We also notice a tiny hole for the microphone for the audio trigger function for the recorded effects.
The 2 carrying handles on the base have a nice rubber finish and the underside reveals a plate for fixing a pair of Omega clamp rings. This plate can be removed, when, for example, the device is mounted directly on a standard support with 4 screws.
Very simple, the panel includes a colour LCD graphic display and control buttons, together with a tiny hole for the micro sensor and lastly the wireless system status indicator.
Part obviously added to the moving head bracket, kept in place by 4 large screws, it allows 2 "OMEGA" fasteners to be attached in quarter turn for standard hooks and a safety sling.
The AYRTON moving head luminaire has a dedicated electronic supply, consisting of 2 separate blocks (in the centre of the base).
The interior contains the motherboard/display, onto which a small green card is grafted: this is the OEM Wireless Solution module. On removing this, we discover 4 “driving” cards used to control the four LED rings independently. Then the electronic power supply is located at the centre, consisting of 2 distinct blocks, housed on both sides of the PAN axis. There is no motor in the base, they are located in the moving head bracket. The two small fans are also “soft” mounted to minimise the transmission of vibrations to the frame.
The arms of the moving head bracket are quite imposing, even though the rounded covers soften the overall look. They definitely have a large diameter head to bear.
But the unusual width is also explained by the integration of PAN and TILT stepper motors, one in each arm. And the motors used are visibly oversized. Could this be the harbinger of fast displacement speeds? Testing will tell… The movement is achieved in a conventional manner via a toothed belt and a crown in a high gear decreaser. There is also a motor control board in one arm for the zoom function and the PAN and TILT motor control board is housed in the other.
This arm houses the PAN and a relatively simple printed circuit board. To be noted that the cables that go to the head cross through a Teflon conduit to avoid any risk of abrasion during repeated rotations.
Traditional, the TILT movement is achieved by a toothed belt drive and wheels in a high gear decreaser, controlled by a recessed motor and a printed circuit board for controlling the zoom function.
The very discreet locking system of the TILT, a small rotary latch that helps to lock the device head in a variety of positions.
The tests are performed according to our test protocol: dark, air conditioned room, projection on a white target, increased to a total diameter of 5 metres at a projection distance of 5 metres.
I) narrow beam
At 5 metres, integration with 10-cm crowns
| Left | Top | Right | Boottom | Average illumination per light-ring at 5 m (lux) | |
| Centre | 8450 | 8450 | |||
| Light-ring 1 | 8120 | 7960 | 8020 | 8070 | 8043 |
| Light-ring 2 | 7100 | 7050 | 7100 | 7260 | 7128 |
| Light-ring 3 | 5920 | 5650 | 5780 | 5680 | 5758 |
| Light-ring 4 | 4440 | 4140 | 4280 | 4250 | 4278 |
| Light-ring 5 | 3100 | 2910 | 3050 | 2940 | 3000 |
| Light-ring 6 | 2050 | 1870 | 1999 | 1840 | 1940 |
| Light-ring 7 | 1260 | 1190 | 1270 | 1170 | 1223 |
| Light-ring 8 | 769 | 736 | 807 | 712 | 756 |
Measurements at I/2
Beam diameter: 0.81 m
Corresponding angle: 9.26°
Illumination at the centre when switching on: 9126 lux
Illumination at the centre when hot: 8450 lux
Flux when switching on: 3917 lm
Hot flux: 3627 lm
Measurements at I/10
Beam diameter: 1.56 m
Corresponding angle: 17.68 °
Illumination at the centre when switching on: 9126 lux
Illumination at the centre when hot: 8450 lux
Flux when switching on: 6727 lm
Hot flux: 6229 lm
Beam profile
II) Wide beam
At 5 metres, integration with 10-cm crowns
| Left | Top | Right | Bottom | Average illumination per light-ring at 5 m (lux) | |
| Centre | 400 | 400 | |||
| Light-ring 1 | 398 | 398 | 398 | 398 | 398 |
| Light-ring 2 | 396 | 396 | 396 | 396 | 396 |
| Light-ring 3 | 393 | 393 | 393 | 393 | 393 |
| Light-ring 4 | 390 | 390 | 390 | 390 | 390 |
| Light-ring 5 | 389 | 389 | 389 | 389 | 389 |
| Light-ring 6 | 386 | 386 | 386 | 386 | 386 |
| Light-ring 7 | 384 | 384 | 384 | 384 | 384 |
| Light-ring 8 | 383 | 383 | 383 | 383 | 383 |
| Light-ring 9 | 382 | 382 | 382 | 382 | 382 |
| Light-ring 10 | 377 | 377 | 377 | 377 | 377 |
| Light-ring 11 | 373 | 373 | 373 | 373 | 373 |
| Light-ring 12 | 365 | 365 | 365 | 365 | 365 |
| Light-ring 13 | 348 | 348 | 348 | 348 | 348 |
| Light-ring 14 | 324 | 324 | 324 | 324 | 324 |
| Light-ring 15 | 313 | 313 | 313 | 313 | 313 |
| Light-ring 16 | 293 | 293 | 293 | 293 | 293 |
| Light-ring 17 | 275 | 275 | 275 | 275 | 275 |
| Light-ring 18 | 257 | 257 | 257 | 257 | 257 |
| Light-ring 19 | 234 | 234 | 234 | 234 | 234 |
| Light-ring 20 | 213 | 213 | 213 | 213 | 213 |
| Light-ring 21 | 192 | 192 | 192 | 192 | 192 |
| Light-ring 22 | 174 | 174 | 174 | 174 | 174 |
| Light-ring 23 | 162 | 162 | 162 | 162 | 162 |
| Light-ring 24 | 147 | 147 | 147 | 147 | 147 |
| Light-ring 25 | 130 | 130 | 130 | 130 | 130 |
| Light-ring 26 | 120 | 120 | 120 | 120 | 120 |
| Light-ring 27 | 113 | 113 | 113 | 113 | 113 |
| Light-ring 28 | 90 | 90 | 90 | 90 | 90 |
| Light-ring 29 | 85 | 85 | 85 | 85 | 85 |
| Light-ring 30 | 84 | 84 | 84 | 84 | 84 |
| Light-ring 31 | 78 | 78 | 78 | 78 | 78 |
| Light-ring 32 | 73 | 73 | 73 | 73 | 73 |
| Light-ring 33 | 64 | 64 | 64 | 64 | 64 |
| Light-ring 34 | 55 | 55 | 55 | 55 | 55 |
| Light-ring 35 | 47 | 47 | 47 | 47 | 47 |
| Light-ring 36 | 40 | 40 | 40 | 40 | 40 |
Measurements at I/2
Beam diameter: 4.10 m
Corresponding angle: 44.58°
Illumination at the centre when switching on: 432 lux
Illumination at the centre when hot: 400 lux
Flux when switching on: 4760 lm
Flux: 4408 lm hot
Measurements at I/10
Beam diameter: 7.2 m
Corresponding angle: 71.51°
Illumination at the centre when switching on: 432 lux
Illumination at the centre when hot: 400 lux
Flux when switching on: 7463 lm
Hot flux: 6911 lm
LIGHT INTENSITY CURVE
In narrow zoom mode, the i/2 angle is measured at 9.2°, which is slightly more than the data provided by the manufacturer (8). The beam transmitted is then particularly intense and sharp.
In wide zoom mode, the i/2 angle is 44°, which is above the manufacturer’s value.
The uniformity of the beam is very good, regardless of the zoom position selected.
The brightness of the projector is remarkable given its relatively low power consumption (less than 500 watts). The machine’s optical system obviously delivers excellent performance, as a zoom typically has very high flux consumption. The concept of “Green Power” therefore takes on its full meaning.
As with any LED source, the source temperature warms up over time and a decrease in brightness is to be expected (we call this “derating”). The Wildsun 500S, left with all sources burning at 100% capacity stabilised quickly, showing a decrease in brightness of less than 8%, which is a very big plus point: guaranteed brightness stability over time.
The projector, fully equipped with LED sources, has a RGB colour mixing additive by default, coupled with a white light source. Compared to an equivalent discharge lamp-type light source with a conventional subtractive CMY, some of the primary or combined colours will be brighter, particularly in the case of Green, Blue, Magenta and Cyan. In practice, this notion is true with luminosities measured respectively at 42%, 4.6%, 16% and 47% of the total light emitted by the projector (all RGB + white light sources).
| COLOURS | Illuminance (Lux) | Relative (%) |
|---|---|---|
| Red only ( R ) | 930 | 11,01 |
| Green only (G) | 3620 | 42,84 |
| Blue only (B) | 390 | 4,62 |
| BLANC CHAUD seul (WW) | 0 | 0,00 |
| Warm White only (CW) | 4730 | 55,98 |
| Amber only (A) | 0 | 0,00 |
| Yellow (Red + Green) (Y) | 4580 | 54,20 |
| Magenta (Red + Blue) (M) | 1410 | 16,69 |
| Cyan (green + blue) (C) | 4040 | 47,81 |
| R+G+B only | 4900 | 57,99 |
| all LED (R+G+B+W.) | 8450 | 100 |
The red is deep (625-632 nm), the green intense (521-527 nm), the blue relatively dark (449-453 nm) but still bright (data collected from the manufacturer, from the OSRAM data sheet). As for the white, it provides the necessary power for many lighting applications by itself.
Moreover, the choice of cool white at 6700K as 4th source is unique to the Wildsun 500S. If it favours the impression of light power experienced by the human eye, it can come at the expense of a colour palette that is rich in warm hues and ambers.
The “multi-shadow” adverse effect generated by the beam of a projector equipped with multiple sources is naturally present here, although only slightly.
The quality of the colour mix is very good, the colours are uniform and do not have the tendency to vary on the periphery of the beam. The colour palette that can be obtained is very rich and the addition of white allows for the most subtle of pastel shades.
The dimmer is progressive (see its response curve). It is very good at low levels, without any visible plateauing effects (it is controlled in 16-bit mode).
The “Strobe” function has a maximum throughput of 25 Hz (which is normal given that the function is controlled exclusively by electronics). It has burst flash effects.
Independent control of the LED light-rings (3 concentric rings + the Central LED) expands the scope of application of the device. It is possible to work the two-colour beams for example, or even to use the central LED exclusively to produce the discreet “in view” cushioning.
The control channels are dedicated to the animation of these LED light-rings, offering the choice of several light-chasers for which it is possible to adjust the speed and cross-fading. An “effects dimmer” can even mix fixed CMY colours and dynamic effects or the pre-programmed colour “presets”.
As the device also has a “virtual” colour wheel, with different temperatures of white colours, plus a handful of specific colours in order to offer bi-colour combinations with only some of the LED light-rings coming into play. That said, on our test model, the white colour temperatures had not yet been calibrated, and pre-recorded colours do not match the references of the Rosco or Lee filters.
A specific DMX channel manages a dynamic variation of colour in cross-fade and the running speed is variable.
Our measurements reveal a zoom range that varies from 9.2° to 44° (angle measured at i/2), which is a good 5 X ratio.
The narrow beam is very intense, well defined with no leakage.
The wide angle lights over 70° we keep its value at i/10, the threshold is taken as the “natural” limit of the visual perception of the beam. In this configuration, the intensity curve is a gentle slope with a slight central plateau. It is therefore easy to coat a large area quite uniformly with colour, even at a short projection distance.
Note that the effects achieved by the separate control of the LED light-rings are especially visually effective in narrow zoom, as in the wide zoom position the light emitted by an LED light-ring tends to “leak” into the optics of the neighbouring light-ring if it is off, which may impair the desired effect if you look at the device front on rather than its projected beam.
As regards the zoom speed, this is adjustable on the device via the menu (but not via the DMX). On the pre-production test sample, the zoom has a best of 2.1 s for its total excursion (as opposed to 3.2 s for its slow speed).
The manufacturer has indicated that it will be the speed zoom of the K7 that will be applied on the final series, which is a total excursion in 0.9 s in rapid mode (and the slow speed at 3.2 s), which should allow for stunning pumping effects.
The Pan and Tilt movements are vivid and sharp; we really like the “generous” choice of motors. The reaction times are almost instant.
The PAN/TILT speed is adjustable on the device via the menu (4 speed). These settings primarily affect the absorbers at the end stop. The go/return speed of the 360° PAN varies from 2.3 s to 3.4 s, while that of the Tilt for a 180° go/return varies from 2.3 s to 3.6 s: very good results.
As regards the slow movements, such as the diagonals, the projector performs decently and the results are good.
As for the noise levels, the device really impressed here: it is particularly silent.
It has several control modes for its fans, but for standard use the “Auto” mode did the job nicely: the maximum threshold during movement, measured at 1 metre, is only 41 dB, which is 33.1 dB ambient. When the device stopped moving, with the LED lights on, the noise dropped to 39.5 dB, finally falling to 36 dB shortly after the LEDs were extinguished (the head fan stops at this point).
Finally, when we press our ear to the device, we can faintly hear the base fans and, as in all the scenarios tested, the head fan is almost inaudible. No annoying audible frequency was noticed. The vibration isolation of the fans is a true success story on this device.
| Hottest temperature on the projector | 66°C between the fins of the chassis of the head (measured at 21°C ambient temperature) |
| Ambient noise | 33,1 dB |
| Machine noise in operation @ 1m | 36 dB machine in sleep mode (LEDs off) – 39.5 dB with the LEDs lit (ventilation active) |
| Loudest operating noise @ 1m | 41dB |
| Full reset time (OFF/ON) | 42 sec |
| Lamp reboot time (OFF/ON) | Instant on/off of the LED light sources |
| Rapid movement | |
|---|---|
| 360° Pan | 2.3 sec (“Speed 1” mode) to 3.4 sec (“Speed 4” mode) |
| 180° Tilt | 1 sec (“Speed 1” mode) to 1.6 sec (“Speed 4” mode) |
| 360° Go/Return Pan | 4.2 sec (“Speed 1” mode) to 7.2 sec (“Speed 4” mode) |
| 180° Go/Return Tilt | 2.3 sec (“Speed 1” mode) to 3.6 sec (“Speed 4” mode) |
| Slow movements | |
| Fluidity of Pan and Tilt | Very good, 4 out of 5 |
The Wildsun 500 S is an atypical device at first glance that shines by its build quality and its technical nature. Its multiple usage modes associated with the internal effects, make it easily accessible and effective regardless of the conditions of use. Its very specific design and head covered with multiple large eyes provide a real visual signature: it is immediately recognisable on stage. Its effectiveness, both in terms of the zoom and brightness and also the quality of the colour mix, make this device the first choice among Wash LED moving head luminaires in its power range. Welcome to the new sought-after circle of projectors that cannot be ignored! A really nice comeback for AYRTON with these types of projectors.
| Length | 305 mm (depth of the base) |
| Width | 446 mm (width of the moving head bracket) |
| Height | 544 mm (head at 90° angle) |
| Weight | 22.8 kg (manufacturer data) |
| Machine type | WASH-type moving head luminaire |
| Voltage and power consumption | 110-240 V/50-60 Hz – 480 W |
| Weather protection | NO, IP20 protection classification |
| Cooling system | Forced ventilation |
| Checks | Via DMX512 – Integrated DMX Wireless System |
| Number of DMX channels and DMX Modes | 17 channels (Basic mode)/24 channels (Standard Mode)/49 channels (Extended Mode) |
| Lamp Type – T° K – Service Life | 31 LED light sources in 4 colours (red, green, blue and white 6700 K) of the OSTAR type by OSRAM |
| Lamp adjustment | NO |
| Hot-relighting lamp | Instant control of light sources in all applications |
| Ballast/Driver type | Electronic |
| Optics | Primary collimator + mobile lens zoom, in 31 sources |
| Access to head | Via removable cover, secured with 4 screws |
| Access to arms | 1 cover per arm, 6 screws per cover |
| Access to the base | 1 front panel (4 screws) + 1 rear panel (4 screws) + 2 metal plates (8 screws) |
| Access to effects | Easy access, the only mechanical effect is the zoom |
| Number of motors | 5 stepper motors |
| Connections | 2 x XLR 5 + 2 x XLR 3 |
| Control panel | Colour graphic LCD display equipment + 7 buttons |
| Software version of test model | V 1.2 |
| Software updates | YES, via wired DMX connection |
| Fixing brackets | 2 x 1/4 turn omega quick-release removable fasteners |
| PAN and TILT lock | YES, 2 positions in PAN (180° range) and 7 positions in TILT (45° range) |
| Transport handle(s) | 2 on the base |
| Attachment point for the safety sling | YES, under the base |
| Pan et Tilt | PAN 540° – TILT 270° |
| Zoom | 8° à 40° linéaire |
| Dimmer / Shutter | OUI, contrôle électronique du dimmer sur 8 ou 16 bits – strobe jusqu’à 25 flashs/sec |
| Couleurs | Quadrichromie additive R+G+B+CW et roue de couleurs virtuelle |
| Paramètres de vitesses | 2 vitesses de zoom, 4 vitesses de Pan/Tilt, 1 canal DMX de vitesse/mode de déplacement |
| DMX Channel | Basic Mode (17 Ch) | Standard Mode (24 Ch) | Extended Mode(49 Ch) |
|---|---|---|---|
| 1 | Pan | Pan | Pan |
| 2 | Tilt | Pan Fine | Pan Fine |
| 3 | Speed Pan/Tilt | Tilt | Tilt |
| 4 | Red all arrays | Tilt Fine | Tilt Fine |
| 5 | Green all arrays | Speed Pan/Tilt | Speed Pan/Tilt |
| 6 | Blue all arrays | Red All Arrays | Shutter Strobe |
| 7 | White all array | Red all arrays Fine | Dimmer intensity |
| 8 | Shutter Strobe | Green all arrays | Dimmer intensity Fine |
| 9 | Dimmer intensity | Green all arrays Fine | Colour macro |
| 10 | Colour macro | Blue all arrays | Colour presets |
| 11 | Colour presets | Blue all arrays Fine | Colour presets dimmer |
| 12 | Colour presets dimmer | White all array | Chase Patterns |
| 13 | Chase Patterns | White all array Fine | Chase Speed |
| 14 | Chase Speed | Shutter Strobe | Chase Fade |
| 15 | Chase Fade | Dimmer intensity | Zoom |
| 16 | Zoom | Dimmer intensity Fine | Zoom Fine |
| 17 | Reset + internal programs | Colour macro | Red – Ring 1 |
| 18 | Colour presets | Red – Ring 1 -Fine | |
| 19 | Colour presets dimmer | Green array 1 | |
| 20 | Chase Patterns | Green arrays 1 Fine | |
| 21 | Chase Speed | Blue array 1 | |
| 22 | Chase Fade | Blue array 1- Fine | |
| 23 | Zoom | White array 1 | |
| 24 | Reset + internal programs | Blue array 1- Fine | |
| 25 | Red array 2 | ||
| 26 | Red array 2 Fine | ||
| 27 | Green array 2 | ||
| 28 | Green arrays 2 – Fine | ||
| 29 | Blue array 2 | ||
| 30 | Blue array 2 – Fine | ||
| 31 | White array 2 | ||
| 32 | White array 2 – Fine | ||
| 33 | Red array 3 | ||
| 34 | Red array 3 – Fine | ||
| 35 | Green array 3 | ||
| 36 | Green array 3 – Fine | ||
| 37 | Blue array 3 | ||
| 38 | Blue array 3 – Fine | ||
| 39 | White array 3 | ||
| 40 | White array 3 – Fine | ||
| 41 | Red array 4 | ||
| 42 | Red array 4 – Fine | ||
| 43 | Green array 4 | ||
| 44 | Green array 4 – Fine | ||
| 45 | Blue array 4 | ||
| 46 | Blue array – Fine | ||
| 47 | White array 4 | ||
| 48 | White array 4 – Fine | ||
| 49 | Reset + internal programs |
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Preparing machines before delivery
La société New Advanced Technology (NAT) vient d’investir dans 375 projecteurs wash WildSun 500 K7 Ayrton.
French entertainment lighting provider, New Advanced Technology (NAT), located 30km east of Paris, has just invested in no less than 375 units of Ayrton WILDSUN 500 K7 moving-heads, following several tests and comparisons with other manufacturers’ models.
Ayrton’s WILDSUN 500 K7 is equipped with thirty-one 7000K single-chip LEDs and, with its 75% optical efficiency.
WILDSUN 500 K7 delivers a massive 20,000 lumen output from a power consumption of only 380W. This amazing power and low consumption, in combination with the full motorization of the luminaire, make the WILDSUN 500 K7 particularly suitable for exhibitions and car shows, and the like.
The WILDSUN 500 K series is composed of 3 moving-heads:
New Advanced Technology also chose the same moment to invest in 200 Ayrton Arcaline 2 fixtures. The Arcaline 2 is a very powerful 16×10 W RGBW LED batten. Its IP65 ingress protection level makes it is perfectly suitable for both outdoor and indoor use.
More information on Ayrton WILDSUN 500 K series can be found at:
http://www.ayrton.eu/product/wildsun-500k
More information on Ayrton Arcaline 2 can be found at:
http://www.ayrton.eu/product/arcaline-2-3g
Based on its expertise in DSP and finite impulse response (FIR) with the ensuing success of its DSR series, YAMAHA hit the nail on the head by launching its DXR range of speakers on the compact sound distribution market. Speakers boasting the same processing technology but offered at an even keener price.
This new family comprises four models which share the same electronics and the same small tweeter. Christened DXR 8, 10, 12 and 15, it is therefore basically the number suffix representing the size of their woofer, which differentiates them.
The DXR family: from left to right, 8, 10, 12 and 15 inches.
To complete the range, two subwoofers, the DXS 12 and 15 have been especially created in order to meet the specific low frequency needs of the music scene and of small-scale events.
The DXR models are moulded in matt black non-resonant ABS enclosures that are both attractive and discreet. They are equipped with heavy-duty honeycomb grilles with sufficient openwork to catch a glimpse of the front of the diffuser. The constant directivity dispersion horn, which is nearly identical to that of the DSR range, can also be clearly distinguished. Below is the boomer with at its base the two triangular ports of its bass reflex charge.
The brand-new enclosure design combines a trapezoidal base with a vertical wall structure with an hexagonal cross section. The general shape, with its sleek lines and sharp edges attracts attention. Visual perception, depending on viewing angle and ambient lighting, varies between truncated prism, convex polyhedral or simple parallelepiped. Beyond being pleasing to the eye, the truncated sides on the back of the loudspeakers have been optimised in order to allow for foldback on stage. In this case the projection angle with respect to the floor is 50°. Remarkably, only the DXR 8 does not allow this type of use due the simplified design of its shell.
Each enclosure integrates numerous fittings that facilitate implementation and operation. The base, fitted with four robust rubber feet, has two 35-mm base plates for standard feet. One is positioned perpendicular to the base plane, the other one is tilted at an angle of 7 degrees. This site value is relevant to the majority of small auditorium topologies. Once the speaker is mounted on its base, the tilt allows the optimisation of sound projection towards the audience and the minimisation of specular reflection from the ceiling or other reflective surfaces, for example upstage. Compared to the DSR range, which does not have this option, it is a true bonus. However, there is no system for locking the rotation of the enclosure.
DXR 15 behind: elegant industrial design and numerous functionalities.
As regards mounting, three rigging points on the top and at the back of the enclosures allow the speakers to be suspended by a conventional sling system. Yamaha also offers an optional bracket that can be mounted in both vertical and horizontal configurations on the enclosure and allows tilt and pan adjustment of the speaker.
In order to facilitate transport and handling, a single aluminium handle has been judiciously placed at the top of the 8 and 10 inches, whilst for the larger DXR12 and 15, two handles were deemed to be necessary. They are built into a housing on the sides and are ideally placed within the weight distribution of the speakers and provide sufficient prehension to allow for the installation of the speaker on a tripod pole. Warning! Even if this operation can be carried out by one person, it is highly recommended that you ask for help, notably for the DXR 15 and its 22 kg.
At the back of the speaker, built into its special housing, the monobloc electronics box can be found. At the top, the ventilation louvers indicate the presence of a 4-speed forced ventilation system controlled by a thermal regulator.
The control and connection panel, easy to read and complete, provides a number of functionalities, which can be listed in two distinct parts: an analogue mixer and a control interface for the DSP.
Intelligent, it can handle up to three simultaneous inputs. The first in XLR links with interchangeable input sensitivity at line level (+4 dBu)/mic level (-30 dBu). When in MIC position, input 1 was primarily intended to handle voice signals, the HPF (high pass filter) is automatically inserted. It is to be noted that no phantom power is added and that the THRU output with male XLR is simply wired in parallel before processing. Double inputs 2 (jack) and 3 (RCA) accept stereo signals from the so-called “general public” equipment (-10 dBV). Each source has its own power adjustment but the nature of the mix sent to the DSP is mutually dependent on the LINK MODE switch. In mono mode, it is the mix from input 1 with the selectable mono of inputs 2 and 3, which is sent to both DSP and DXR LINK output. In stereo mode, the mix from input 1 with only the left channels of inputs 2 and 3 feed the DSP. Simultaneously, the mix of the right channels for inputs 2 and 3 for its part, is sent to output LINK in order to be redirected to a second speaker. Such a system allows the creation of a simple stereo output without additional equipment.
In order to optimise the frequency link with the new subs DXS12 and DXS15 or with those of the superior DSR118 range, the user has two HPFs of the 4th order switchable to either 100 or 120 Hz.
A dynamic D-Contour filter with two distinct adjustment configurations has also been implemented. In FOH/MAIN mode, the DSP uses a physiological treatment to compensate when listening at low levels for the lack of sensitivity of the human ear with respect to the top and especially the bottom of the audio spectrum. The never-before-seen MONITOR mode is aimed at linearising the low register response by compensating for the interfering floor reflection whenever the speaker is used for foldback.
In addition to a specific start-up LED, the speaker has three further indicator lights signalling respectively: shutdown of the speaker in the event of malfunction, detection of audio signal and start-up of limiter. Incidentally the latter signalling and powering information are repeated on the front of the speaker by an LED with dual function that the operator can deactivate by means of the “FRONT LED DISABLE” switch.
Tweeter's Mylar diaphragm.
Highly conventionally, the high notes are entrusted to a tweeter coupled with a 1 inch closed diaphragm. The Mylar diaphragm peripherally supports the 35 mm coil supplied by a 150 W amplifier. This small motor that is fitted in the entire DXR family, is able to reach to 20 kHz without weakening. Unfortunately its low cut-off frequency between 2.1 and 2.4 kHz depending on the model, is, in my opinion, much too high to hope for a satisfactory directivity crossover for a 15 or even 12 inch boomer with the high-frequency horn.
The woofer with the most classical design.
Securely fixed to the front with 8 Phillips screws, the 8-15 inch speakers are simple and traditional creations.
Equipped with a pressed metal basket assembly, an impressive ferrite magnet with central and peripheral air shaft, a cone-shaped paper membrane provided with a half-roll oilcloth suspension, these transducers with their tried and tested technology are fitted with a 2 inch coil for the 8 and 10’’ and 2 1/2 inches for the 12 and 15’’. Able to absorb 950 W of dynamic power, these transducers can provide peak acoustic pressures between 129 and 133 dB SPL.
The monobloc and compact electronic housing is a model of successful integration. It groups together no fewer than six distinctive printed circuits.
Electronics with to the left, the analogue circuits and the DSP on the other side.
The one dedicated to both the analogue mixer and DSP is protected from electromagnetic radiation by a metal shieldμ notably with respect to the universal power supply (100 to 230 V). It uses a new cutting method in order to meet the power needs represented by the 1100 W of the Class D amplifiers.
Past the 24-bit conversion, the DSP takes charge of all of the signal processing up to the power amplifiers. Calculations are carried out in 48 bits with 76 bit accumulation. All of the audio processing, notably crossover, multi-band parametric equalising, inter-transducer compensation delay and limiters are configured in a factory memory specific to each DXR model.
Switched-mode power supply and power amplifiers in Class D.
Digital crossovers providing linear phase response use FIR X tuning ™ technology. Crossover frequencies have been very precisely set at : 2.4 kHz for the DXR8; 2.3 kHz for the DXR10 and 2.1 kHz for the DXR12 and 15.
A protection system controlled by a special microprocessor and by the DSP permanently monitors the status of the power supply, of the power amplifiers, of the transducers as well as the audio signal level throughout the processing chain. If a fault is recorded, this system kicks in and the speaker is deactivated. This is notably the case for overheating, detection of short-circuit, or overvoltage in power grid.
When the DXR is powered, the protection system is active in order to avoid any switching noise in the speakers. Its indicator lights up for approximately two seconds and turns itself off once the regulated voltage is established.
Synopsis of safeguards.
Amplitude and phase responses in function of the frequency measured on axe in the middle of the speaker's centre line.
The fine-tuning of the DXRs was entrusted to engineers at Nexo, Yamaha’s French partner. Regarding the amplitude/frequency curve, a slight pre-emphasis of the high notes is recorded, which is there to compensate for the inevitable weakening observed outside of the axis of the horns and allows to display an average response, for the entire coverage area, confined to a limited size as we will be able to see a little later.
In the low register, the small DXR cuts progressively and very regularly from 90 Hz. Its bandwidth at -10 dB drops to 60 Hz.
Crossover uses FIR-X technology and should have displayed a totally flat phase curve in the connection area. Yet the curve reveals the presence of two horizontal plateaux indicating a very slight phase delay, 60° to be precise, equivalent to 1/6th wavelength. This delay corresponds to a difference in acoustic pathways between woofer and tweeter of approximately 3 cm. It can be inferred that the tweaking of the inter-transducer propagation delay was carried out in the line of the horn and not in the middle of the speaker’s centre line.
Amplitude and phase responses measured at the transducer terminals.
This in no way spoils the excellent results achieved by the Nexo engineers, who were able to judiciously take advantage of the DSP resources for fine-tuning the DXR. The curves in Figure 10 represent the conformation treatment applied to the audio signal for high and low frequency bands.
The DXR8’s horizontal directivity behaviour is controlled correctly in the 90° of the announced dispersion angle.
Responses at 0°, 22.5° and 45° in the horn's horizontal plane.
The constant directivity horn displays good efficiency up to 14 kHz. Beyond this, the response drops but nonetheless remains consistent up to 20 kHz.
The woofer’s directivity is said to grow, which means that it increases with the frequency. After 500 Hz, at the nominal DXR dispersion angle, i.e. 45° outside of the axis, the response drops inexorably. This loss, which should prove to be more significant is minimised here as a result of the considerable equalisaton applied to the low frequency band. With this treatment, the connection at -6 dB between boomer and horn is near-perfect. The red curve represents the average of curves recorded from 10 to 10° horizontally. It is held in a 0/-3 dB template on a band between 80 Hz and 20 kHz.
Amplitude and phase responses in function of the frequency measured from 5 to 5° above the median plane H of the speaker.
Above the horizontal median plane, the measured response curves undergo more or less significant disruptions due mainly to two very distinct phenomena, which should be differentiated :
In practice, the importance of these measurements carried out above the horizontal median plane should be rationalised since once the speakers are placed on their tripod pole, the audience will be seated under this median plane most of the time.
Amplitude and phase responses in function of the frequency measured from 5 to 5° below the median plane H of the speaker.
Below the median plane, the response network is also disrupted but to a lesser degree.
From 3 kHz to 20 kHz, the curves are strictly parallel, showing the excellent vertical behaviour of the constant directivity horn.
Below this, the recovery zone experiences disruptions similar to those observed in the positive vertical place, then the curve dips to join a remarkable bump around 1 kHz. The latter, as a consequence of the previous explanation involving the woofer’s directivity, is directly linked to the increase in sensitivity measured in a speaker’s propagation cone.
Regarding vertical directivity, the +15 to -25° curves are held within more or less 3 dB over the entire 80 – 20000 Hz band. This is an excellent performance if account is taken of the difficulty to keep such a size during the design of a 2-way non-coaxial speaker.
Various available filtering options.
Surface-based measurement of a DXR8 placed on a DXS12.
Amplitude measurement of the various filtering options offered by the DXS12's DSP.
Besides the dynamic D-CONTOUR filtering treatment, the DXR has HPFs of the 4th order switchable to either 100 Hz or 120 Hz. These of course complement the filters on the bass boxes DXS 112 and 115. The recombination is perfect and the bandwidth at -10 dB drops to 47 Hz.
With the filtering method options offered on bass boxes, this band can be further expanded.
DXR 8 linked to a DXS12 by a standard 35 mm coupling rod.
A Beta 58 in input 1 on the DXR, and let’s go for the voice test.
First pleasant surprise, despite physical differences, the tone perception regardless of the speaker listened to is remarkably similar. In the line of the speakers, it is even rather impressive since this similarity affects the entire voice spectrum. The latter is full of warm low notes and discernable high notes but a little less pronounced than on the DSR.
Moving in the horizontal plane confirms the excellent control of the constant directivity horn. The high mid-range and high components remain balanced. On the other hand, a little lower, around 1 kHz, the woofer loses some of its splendour, all the more so since the limit of the field angle is being approached. This phenomenon on the DXR 12 and 15 is much less marked on the small DXR 8 and 10.
Placed in foldback position, the three large DXRs offer an impressive potential acoustic gain without resorting to external equalisation. The use of the D-CONTOUR monitor minimises the usual low medium masking effect and improves intelligibility to the detriment, however, of fullness. Singers should be delighted. Bass players and drummers, for whom the foundation is important, a little less so.
Musical tests confirm the good impression left by the voice test. The sound is full with a balance between harmonics and fundamentals, attacks and resonance. The signal processing signed Nexo provides an identity common to the four sisters. Their tonal behaviour is similar except of course on full power where for the reproduction of low tones the DXR8 quickly shows its limitations. It has to be agreed, the laws of physics are implacable and, except for having a clearance 3.5 times greater than the membrane on the DXR15, the small 8 incher, with the best will in the world is unable to compete with its bigger sister in terms of power.
With this series of efficient speakers, Yamaha makes FIR technology available to everyone. The quality of their sound rendition and the acoustic power they are able to deliver result in the fact that they have no cause to be jealous of many speakers used by professionals. On the other hand, the ABS enclosures, the integrated mixer and the very convincing prices, prove to be decisive arguments to seduce the market for musicians and mobile discos, even that of small-scale events.
When faced with the number of models on offer, the most difficult task is certainly the ability to make a choice. If the intended use is a sound system for conferences or the playing of background music, the DXR8 with its compactness, its light weight, its consistent coverage, probably represent the best possible choice. On the other hand, if the goal is to play music on the dance floor, or to provide a drummer with an ultra-powerful stage foldback, it would be best to go for the large model in the range.
Between the two, the DXR 10 and 12 would be adequate to equip rehearsal studios or even small jazz clubs.
Lastly, let it be known that a triphonic system made up of a pair of DXR8 and a DXS12 bass box, is able to deliver force and bandwidth equivalent to that of two DXR15. This alternative is to be considered if, during your next beach tour, space in the back of the Renault Kangoo is at a premium.
Manufacturer’s specifications:
And we thought TV was going to be mad at music forever. Apparently this is not the case and the insolent success of the show The Voice, properly nourished with powdered Star Academy and Nouvelle Star porridge, is the living proof of that. With the help of television magic, eight up-and-coming artists groove this summer throughout France in The Voice Tour 2012, cheered by an audience as young as it is enthusiastic and accompanied by a very solid group, effective lights and five top dogs on sound. SLU attended one of the first dates in Bordeaux.
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The Mériadeck Rink in Bordeaux, in auditorium configuration with audience chairs on the front half of the surface that is normally covered with ice and bleachers erected on the back of this same surface. On the far right, the stage is being set up; on the far left you see the sound and lighting FoH position.
In a previous report, we left the Meriadeck skating rink venue in Bordeaux feeling like Captain Iglo. This time we find it heated throughout, without ice under our feet and with an impressive grandstand erected opposite the stage. According to the information we got from the production, the room will be full: a good thing in a place where sound is, at very least, difficult. Since this is actually the first show of the tour with load in and load out on the same day, I make myself very small for the time that it takes for the rigs to be flown. The team consists of Axel Vivini and Ben Rico on monitors, Didier Golvin taking care of system setup, Seb Barbato as system engineer and Stephane Plisson at FoH – the RFM80 team is back in service, after all! First surprise: there are two Soundcraft Vi6 consoles that will mix the monitors. Second surprise: Stephane Plisson has programmed the show on a Midas PRO6. Suffice it to say that my dictaphone is burning my fingers! Taking advantage of a break, I landed my first question on Axel Vivini.
Left: a guy who will go far, system engineer Sebastian Barbato and, on the right, a little guy who has already gone quite far, Stephane Plisson and his new blue toy!
SLU : Why two monitor consoles, and how do you split up the work?
Axel Vivini (Axel Vivini, monitor engineer) : Ben’s console feeds the musicians and singers. 100% of them use in-ear monitors except for the drummer who uses also a sub. I take care of the singers, all of whom use IEMs with the exception of one singer who uses wedges (Dominique Magloire – Editor’s note).
SLU : Only one?
AV : Yes, she does not want in-ear monitors and also used wedges on prime time on TF1 with Alex Maggi on monitors (Alex, if you are listening… – Editor’s note). We had them on the whole stage (laughs).
The monitor console for the singers, operated by Axel Vivini, who is standing in front of his throne. On his right, notice the scanner on his laptop which every few seconds gives him a view of the radio frequency situation.
The rack under Axel Vivini's console. Here, again, 10 Vitalizers add color to the eight singers' monitors, to those of potential guests and to Axel's listening. At the bottom, an Antelope Isochrone clock gives the "tick" to the two desks 48,000 times per second. Notice on the far left the almost full stage rack. The console dedicated to the singers controls the inputs and, therefore, gains.
SLU : But this did not work practically using just one Vi6?
AV : No, it would have required two because of the number of outputs of the desk. I could have taken care of both by myself by sending it direct out in MADI, post-fader, but since the band is using Earsonics and all the singers are using Westone, it would have been impossible for a single sound engineer to be consistent with two brands of earphones, wedges and more, hence the need for Ben Rico to mix where initially he was supposed to assist me.
SLU : Why two different brands?
AV : TF1 bought 24 pairs of Westone ES2 molded earphones for all the singers involved in the show, it made sense not to re-equip the eight finalists just for the tour.
SLU : Who takes care of the stage and the wireless gear if you and Ben are at your consoles?
AV : That’s sort of a problem (laughs). Ben started out as my assistant but now he mixes. We have a ‘plan B’ with Nickos, one of the guys in scenography, who gives us a helping hand during the show, even only with the microphone stands. This problem should be solved soon anyway.
SLU : And the artists?
AV : They manage on their own. They are pre-equipped before the show and each has his/her own receiver and microphone, so once the show starts, they are independent.
SLU : Was it Alex Maggi who introduced the singers to in-ears?
AV : Yes, when it comes to TV, most of them had the habit of using only one side. I made a deal with them during the early rehearsals, asking them to keep both in, but without preventing them from returning to their old habits if they were not happy with that. For the time being everyone seems happy. It is only our second show but everything looks set.
SLU : A venue like Mériadeck should encourage them to keep them both in!
AV : Exactly, and that’s what I said, to remind them of the difference between the sound on a soundstage in a TV studio and that in a concert hall. One has nothing to do with the other!
On the left, Ben Rico who is in charge of the musicians' monitors and on the right Axel Vivini who, instead, takes care of the singers' monitor mix.
SLU : Your relationship with them is good, then.
AV : The singers are all very thorough and attentive. It is interesting to work with this type of “beginner” artist because you really need to educate them so that they’ll learn to say what they need and what bothers them.
SLU : Between the two of you everything works out fine too …
AV : We have been on tour together before. I was Ben’s assistant on Florent Pagny’s tour. There was only one singer with 14 musicians, the singer used wedges and the musicians used IEMs. At the time, Ben used a PM1D, but using a Vi6 immediately imposes the use of a second console.
Two of the four bi-amplified Adamson M15 wedges that provide monitoring for Dominique Magloire. On the left, one of the six 8XTs for the front rows, which played harder than usual, because six KARAs were removed to clear visibility for the audience on the sides. Seb Barbato made sure to lower the volume everytime the fans crowded the stage barrier.
The monitor power rack with four Lab.gruppen PLM10000Q amps also had enough DSP resources to drive four Adamson M15 wedges. Dominique Magloire is spoiled rotten, isn't she?
SLU : That console, it really does the job! (laughs) Besides the four Adamson M15 wedges, I see some L-Acoustics ARCS II stacked on SB28s acting as sidefills. Does this new enclosure work well in this role?
AV : Very well. It has a very homogeneous coverage that allows me not to disturb the musicians while perfectly covering the front of the stage where the artists move. The ARCS II has an asymmetrical vertical coverage of 60° (-20°/+40°), which means that when it is lying down it provides perfect coverage when you stay close to the edge of the stage and not near the band.
SLU : Going back to the two Soundcraft Vi6s, were they available at Melpomen?
AV : Melpo only provided the Vitalizers and the Sennheiser wireless systems. The rest was came from West Indies Projects.
SLU : What is that strange rack with an SPL de-esser for each receiver?
AV : It’s our rack for microphone receivers, each of which passes through the SPL before going on to Steph’s Midas and to mine and Ben’s signal path. This allows us to process all sibilants at the source with less quality loss.
The rack of wireless microphone receivers. Underneath each Sennheiser 373, there is an SPL 9629 De-Esser, each dual receiver passes in analog through a dual de-esser.
SLU : Therefore you are working in analog while the Sennheiser 3732s can output in AES…
AV : Yes, but that allows us to use those de-essers, which I love and which work very well.
SLU : What do you like in the SPL 9629?
AV : It is very natural, very musical and it works almost on its own. You put it on auto-threshold and you indicate whether it will work on a man’s or a woman’s voice. You set the amount of reduction and it works using phase inversion. We’re going to take the opportunity to test the 3732’s digital output, in which case we will not use the SPL. We’ll listen and decide what combination sounds the best.
Ben Rico in front of his Vi6, with which he mixes monitors for six musicians and three backing vocalists.
Under Ben Rico's Vi6 for the band monitors. On the left, ten SPL 9739 "big, brilliant sound" generators best known as MK2-T Vitalizers, loaded with 12AX7 tubes. On the right, nine Sennheiser SR2050 transmitters send their signal to two AC3000 combiners, the latter being in turn combined through a PA821SWB... branded Shure. Well no, I did not say it, did I?!
SLU : Back to the earphones. Ben, then you listen in Earsonics and Axel in Westone…
Ben Rico (Ben Rico, sound engineer on monitors) : Yes, but each of us has a pair of each brand and occasionally switch from one to the other. We exchange our PFLs from desk to desk if one of us needs the other to listen to something. We want to keep the consistency between what singers and musicians hear.
AV : The advantage of having two consoles and two people working on them also lies in the possibility of applying more advanced and different processing. Finally, two Vi6s are not really a luxury, because they are maxed out. Ben has only four channels free while I am at 96 channels.
SLU : How do you manage the two desks, is it only one that controls the inputs?
AV : That’s it. The microphone inputs are routed to mine and I control the gains. Then all my channels are sent pre-fader, pre-EQ, pre-dynamic, pre-everything to the second MADI card on Ben’s Vi6. Steph at the front, gets an all-analog patch for his PRO6. We split at the output of the Soundcraft stageracks.
A look behind the monitor consoles with SSE Group patch bays. You can distinguish on the left of the picture and in the background Ben Rico's Soundcraft Vi6 drive rack.
SLU : Your two desks are pretty well intertwined, then…
AV : Yes, there is a 64-channel MADI fiber that runs from one to another in both directions so I can recover some effects that I’m missing from Ben’s. I don’t have enough on my console. I need eight effects for the singers … We do everything with what those Vi6s offer, without any external devices. I also have a rescue mix for the front just in case.
BR : In short, we have 64 preamps but 96 channels with effect returns, the Mac, the crossed PFLs, the musicians’ talkbacks and and a variety of other signals. We had to route the technicians’ talkbacks to a Midas XL88. This is because we had no more channels and, especially, because this way we can go in several directions.
A trio steeped in competence. From left to right: Jean-Michel “Jamy” Salou, backliner; Jean-Philippe Schevingt, second keyboard on the tour and master of the Pro Tools that hosts the show transition audio clips and the TC that drives the media servers for the corresponding images; finally, on the right, Jean-Rémy “JR” Mazenc, the second backliner.
SLU : How do you manage priorities? I mean, who talks to whom?
BR : During the sound check, everybody talks to everybody. During the show, on the contrary, the musicians speak to us and the backliners only, without hearing each other. Axel and I receive all the ongoing communications on our PFL. Whatever happens, we hear everyone. We also installed a pedal in front of each console that allows us to talk just between us, and of course we can talk to Steph, at the front, through his path.
SLU : How many days did you have to prepare the show?
AV : Five. We were at Planet’ Live in Paris. Three for the musicians and the last two with all eight singers.
SLU : Here’s the annoying question (laughs). Is this Plisson guy manageable? For example, who chose the microphones?
AV : He did, even if it was a shared decision. I worked a lot with him assisting Laurent Midas so I know him. For Ben, however, this is a first time (laughs).
BR : Yes but he’s cool. You saw this morning, I proposed that we mic a timbale from below and he accepted right away!
Hervé Brault's Fender amplifiers entrusted to a pair of Neumann TLM102s, same as the drumset overheads.
SLU : Who chose to put the guitar amps at the back of the stage?
BR : In any case, there was no room on the risers up front, so we put them behind and turned them towards the back. At least they do not go directly into the singers’ mics! Stéphane would have kept them at the front but it was difficult to manage. Their pedal boards just eat up all the space!
SLU : Stephane, you love the Neumann TLM102 …
SP (Stephane Plisson, FoH engineer) : I love it, I would put it everywhere. It works just like the 103, but without its weakness in the lower midrange. It is on guitar amps, on top and bottom of the snare drum and overheads. I have six!
SLU : Doesn’t it have too wide a pickup for the snare?
SP : Not too much, and it brings clarity and dynamics that I can’t get with the classic SM57. You get a full sound.
SLU : And this snare drum is deep…
SP : Especially since it’s Jean-Phi Fanfant that hits the drums… and he hits them well, that boy (laughs).
Jean-Philippe Fanfant's snare drum. Fanfant also uses a piccolo snare on some tunes. Notice the miking with the two Neumann 102s on top and bottom.
This is a Stephane Plisson's classic, some Beyerdynamics on the tom-toms and some large diaphragm Shure Betas on the floor toms. Classic but effective!
The band that accompanies the eight singers is almost the same one seen on TF1 shows, with arrangements specifically for the tour done by Olivier Schulteis and Michael Amsallem. Special mention goes to Jean-Philippe Fanfant, whose powerful drumming – both generous and dextrous – his inventiveness, groove and ever-present smile really carry the show. With Stephane’s help at the front, who gives him a huge sound on top of which the other musicians layer themselves, all capable of moving from one musical style to another. With this type of band, you must feel the wings sprouting on your vocal cords!
SLU : It’s a new experience for you to mix “young voices”.
SP : I am delighted to be here, it’s really interesting work. I’m still a bit frantic because it is the second day and I’m still discovering all the differences and their abilities, but then I have a band that rocks. You’ll see at the end of the show the eight singers do three songs together. I leave the left bank of the console to Seb (Barbato, system engineer and FoH assistant – Editor’s Note) so he can put a little order in following the words and the division between the artists!
SLU : We left you on Soundcraft and now that we meet you again you’re on Midas What’s this trick?
SP : For a long time I’ve been told “you’ve got to try Midas, you’ll see, it’s good”, even by someone on this tour. I always buy my consoles and love technology, still I was stopped dead by the price of the XL8. For me and many others it is untouchable, and then I know the Soundcraft – their software, their shortcuts, their sound – so well that I could not see myself changing. Someone started on me again three weeks ago and I finally downloaded the Pro2 OS from their site. I liked it and I contacted Jean Marandet at EVI. Of course, we both realized what I really needed was a PRO6 or PRO9, and, as The Voice tour was about to start, I got to have a PRO6 on loan. The real test is the live show – more than two small listenings in the studio – I went for it and I bought the PRO6 that you see and I left the Vi under its cover. I programmed the show and I am discovering more about it every day.
The FoH PRO6, perched in the top of the back of the rink, just below the very long, curved dV-DOSC line of the venue. On the right, the very bare rack supporting the Mac mini screen and the Lexicon 960 remote control.
SLU : And?
SP : It’s crowded, it’s full and, frankly, its mixing capacity is too small because it has only 56 primary channels and 56 preamps. I’m a fan of 64 MADI channels with 64 preamps, of being able to calmly play with Logic the day before concert and, above all, of a console that has 96 channels and the room for anything you use on tour: effects, background music, intercoms, ProTools monitors, a TV mix and so on. As you see, I had to fiddle around a bit. The PRO6 may suit some, but for me the standard format should, instead, be the PRO9. To do just 56 channels, the PRO2 is sufficient, even if it doesn’t have the same preamps!
SLU : You have just started and you already have your guns out? (laughs)
SP : You know me… I already have a few pages of complaints, you know, of functions that I expect to find on my console as easily as on my mixer of reference and which either do not exist or are well hidden. Of course, in terms of experience I have only the date in Nantes and three days of residence, so I certainly miss numerous shortcuts or Midas tricks that I have not learned. I would have to go through the preferences thoroughly. The fact remains that a few changes in the software would be nice. That said, the show is programmed in and I did it easily, and that proves that this is a good product especially since I have been very demanding with snapshots and other crossfades.
The FoH outboard rack. From top down: the API 2500 compressor inserted on the outputs, an Eventide Eclipse, a TC Reverb 4000, the Klark Teknik DN9650 used to convert between MADI and AES50, the inevitable machine to make people vibrate – a DBX 120XP – the Sonnet Mini Rackman which hides the Mac mini, the reverb and maybe more, the Lexicon 960L and, finally, a Riello mini UPS.
SLU : For instance, what do you complain about?
SP : “POP groups”, for instance, are by snapshot, which is interesting, but they cannot be disengaged. If I want to keep them for a global console, I cannot. I have to redo all my snapshots. In addition, POPs are placed only to the left fader bank, where I would like to organize my channels freely. Again, I do not know enough yet, maybe there’s everything in there!
SLU : Still, are you happy with the sound?
SP : It seems pretty good. Already it works at 96 kHz native and its “engine” works at 40 bit floating-point. It also works perfectly without an external clock. The equalizers are much finer due to the sampling frequency and to the resolution and dynamics sound good, especially the gates. The analog output is also very good, it allows me to insert an API 2500 compressor…
The measurement microphone connected to Stephane Plisson's Flux analyzer.
SLU : You could connect it in AES to the Dolby, just like your desk, you would have fewer conversions…
SP : I will surprise you, but I am a huge fan of the analog input of the Lake. It has a sound that I love. Curiously, I prefer it to the digital input. For the rest, apart from the Lexicon 960 on voices, all effects are in the console and, overall, it works.
SLU : You are restraining yourself, for someone who has just switched to another brand …
SP : I don’t want to “knock over the Christmas tree”. I tested many brands and I have had some disappointments. I am a big fan of the Midas XL4, which I used a lot and even tinkered with to correct certain limits (remember the XL4 hybrid for preamps, then the Digidesign core for plug-ins and automation and finally, again the XL4 for the mixer – Editor’s note). I like what I hear for the time being; it reminds me of the saying “you plug in a bass/drum/guitar, and it plays” of the XL4. Some hate it, I’m a fan. The PRO6 sound is sleek, the opposite of a studio console. It is more rock’n’ roll with a big dynamic. You love it or you don’t. Take an XL4. Some say that the equalizers are fabulous. When you play with them, you have the phase that stretches and the image that flies. I found the PRO6 equalizers musical, powerful and with a consistent phase. At the end of the tour I will take it in the studio and do some comparative listening to verify these impressions.
The stage-left V-DOSCs being assembled, led four-by-four by Didier "no excess cables" Golvin. The rest of the sound system on the ground and in the air is already in place, and will dramatically move to clear the sightline for the audience at the sides.
The stage-left main system, composed primarily of 12 V-DOSCs, and six supporting KUDOs for the sides. Safety cables and measuring tapes are still hanging, proof that the installation was not completed.
Quiz of the day: how high is this array of V-DOSCs? To find the answer, look closely at the measuring tape that comes down from it to the ground where it is secured with a piece of gaffer tape!
SLU : Can we say that the sound comes first on a console?
SP : No, everything must be good on a console. As of today, Soundcraft has the best ergonomics, its touchscreens are terrific, its software is by far the most accomplished and the freedom the console gives you on live shows is great. A digital console nowadays has to have a solid software and Vi is the most logical for use during concerts. I can’t stand “copy and paste”. We are in the arts, not in programming, especially for me because I work a lot in “safe” mode. You might as well say that on Midas there’s room for improvement at this level because the software seems too rigid.
SLU : I saw you were listening to a multitrack of yesterday’s concert, where is your Mac?
SP : I switched to a Mac mini rack with a Sonnet solution. It’s more convenient and plenty powerful. The Mac mini also allows me to have my usual rack of Waves Multirack virtual devices and my Flux analyzer, of which I was able to have a version of the software specifically for me and the FoH.
SLU : How do you connect your Mac mini for audio?
SP : Its output is in Thunderbolt. So I have a Sonnet Echo ExpressCard adapter that accepts a MADIface RME card. This then connects over fiber optic to the Klark Teknik DN9650, which can interface almost everything with the AES50, the protocol chosen by Midas for its consoles. The 9650 speaks Dante, Aviom, Cobranet, EtherSound and MADI of course. My Mac mini has a 7200 RPM disk with 500 GB for music, so I’m rolling!
The array of six KUDOs on stage-left used to cover the sides not covered by the V-DOSC. Look at the top, towards the middle of the first enclosure, you can see on its side a red rectangle. That is the sensor of the inclinometer used by Didier Golvin.
Didier Golvin's inclinometer while the arrays are being flown.
SLU : Sebastien Barbato, your system engineer: he looks reassuring
SP : Absolutely. It was Axel Vivini who introduced him to me at RFM80 tour. He has a single flaw: coming from down South, he’s a little pinched in the lower mids. Make him say “pingouin” (penguin) and you’ll understand (laughs). He was Axel’s assistant and I can assure you that he’s a top dog. Mériadeck is not the easiest place! Otherwise I would have already pushed him off! (The FoH is set up the edge of the first balcony, just below the dV line of the rink – Editor’s Note). I also have Didier Golvin (the Rolls Royce of system assemblers – Editor’s Note) and I can tell you that it’s a luxury to have him. Every day I wonder if he will be there the next day because he is a true artist – who now speaks only in K1 – who has had to accept going back to the V-DOSC (laughs).
SLU : As far as that goes, in Melpomen they have references other than V-DOSC, anyway.
SP : Yes, I could get the K1, but what for? The size of the venues does not really require a K1. As Melpo is part of the English SES group, I could have had Nexo, for example, but hey, my ears are shaped by Christian Heil. I have tried many things, some are good but I always come back to this brand and, God knows, right now a lot of new systems are coming out, each one cooler than the last. V-DOSC has also taken full advantage of the LA8 controllers which have given it a second life with a much smoother high end.
The power rack for the stage-left main system, with 12 LA8 controllers. Yes I know, we see some wires hanging around but this is due to the moment when this picture was taken. Didier "all clean" Golvin then made this place as clean as an accountant's office...
SLU : It’s not common to see Melpomen on a major national tour.
SP : Yes, but since the tour producer is from Touraine, he knows the great west, and Melpo is based in Nantes… the choice is logical. The buses even leave from Nantes and not from the eternal Porte d’Orleans in Paris. Since I live an hour from Nantes, I’m certainly not the one who’ll complain about it!
SLU : Why did you specialize in system engineering?
Sébastien Barbato : Who me? Well, here … (An angel passes between the cylindrical waves and eventually ends up riding one, laughing – Editor’s Note) I’ve done everything: FoH, monitors, console, assistance and systems. I like all the jobs, but I can’t tell you why. Let’s say that the advantage of being on the system is being in close contact with a lot of mixing engineers that bring me a lot. I don’t know if I’ll do it all my life. For the moment I have fun with it but if someone offers me to go on an interesting project at the console, I’ll do it without qualms. I’ll mix and still put my hands in my system because I find it interesting to control its chain and understand why and how it works. It is also interesting to work on design and setups.
A view of Seb Barbato's workstation, with his tablet used to control the Lake, the screen on the left displaying the LA Network Manager and the one on the right, the Flux analyzer.
SLU : Through Arpège, you have mostly used the L-Acoustics systems?
SB : That’s it, some DOSC and some K1, a little bit of Meyer but where I’m most comfortable is on the L-Acoustics. Inevitably, you end up being a bit formatted when you work mostly for a single company.
SLU : Could you give us some details on how you manage the system?
SB : I drive it with the LA Network Manager and I have a Dolby and an LM26 that I use for the matrix, the delay and the EQ. Steph sends me the analog signal from the API2500 compressor. I convert it with the Dolby, I send it to the LM in AES and, from there, I go down with 12 analog pairs to the amplifiers. The four main signals – DOSC, Subs, KUDO and KARA – are managed by the Dolby. The rest, namely the 12XT, the 8XT front fills and others are done by the LM26.
The central stack of four SB28s, placed at center stage to complement the sets of six SB28s at the sides in 2x3-box cardioid mode. The total set of 16 SB28s for 24 V-DOSCS; Steph Plisson is demanding!
A view of the sound system on stage-left. From left to right: the SB28 and the ARCS II serving as sidefills; the three KARAs in charge of covering the front rows which, due to visibility requirements, will disappear; the 12XT intended to cover the sides, which will be forgotten once the six Kudos are hung; and finally, six SB28 subs ground-stacked in cardioid mode.
SLU : Where do you do your delays?
SB : Since I only have one line for my subs for stage-left and stage-right, and they are arranged as cardioid, I use the LA Network for them. The remaining delays are generated by the Lake, which gives me all the times on my tablet when I walk around (and Seb actually walks a lot! – Editor’s Note).
The concert starts almost on time and 4500 melting fans and I take the usual “Plisson slap”. Despite the short time on his new console, the short time with the singers – who are almost all beginners and very young, which makes them unruly with the microphone or with their voices – and finally, despite a venue that does not facilitate good audio, the sound hits hard and is downright good. It is true that our eight gems are accompanied diabolically well by the band. I found the punch and the finesse that set them apart, which had been erased on TV either by a castrating antenna sound treatment or by an over-zealous ambient and applause “wetting”, or by both. Poor Jean-Marc Aringoli (TV sound engineer for Silence – Editor’s Note). None of that here – the sound is full, round, and I have to leave the platform on which the PRO6 sits to find lows that are simply enormous. The top end is fine, maybe a tad too busy, creating a sense of “loudness” that is fairly pronounced but not unpleasant as it gives the illusion of volume without it getting too high in dBA. The maximum SPL only flirted for short periods with 100 dB (A). We welcome in this respect Stephane Plisson’s choice to use his Amix meter, with the famous red display. To this he has recently added a specific Flux analyzer for live applications integrated with LEQ in dBA just like the Amix, a frequency analysis that compares FoH with the stereo console output and finally a phase scope. This version is soon going to be available for sale.
Coming back to the voices of the eight singers, the great freedom left to them in the mix sometimes leads to a slight harshness in the upper mids due to resonances of poorly mastered nose or head voices or to slightly abrupt differences in dynamics. Maybe a dynamic filter or a multiband compressor could have contained some of the voices or rather filled them and helped in disciplining them. I have some doubts about the de-essers through which all the vocal microphones passed. I think I heard their intervention on some of the voices when they, all of the sudden, sound more whispered, let say windy than really full in the high end. They are doubtlessly useful for the monitor mix in the earphones, but it might have been better to leave the FoH free to choose whether to use them or not and, above all, to adjust the level of their intervention.
For the rest we can only salute the final music reproduction, which is big and says “I can lift this venue without making your ears bleed”. We also acknowledge Seb’s work on the system, rigged with utmost care despite an avalanche of small, temporary problems during the day of setup, something that happens frequently at the beginning of a tour, and that was serenely forgiven. The very young audience enjoyed it and we did with them, making the use of earplugs necessary – indispensable, actually – at the end of each song because they yelled so much. But, then again, what joy it is to see kids have fun with classics like Aretha Franklin’s Think or tear their feet off the ground by an imperturbable Michel-Yves Kochmann showing off his guitar work on Radiohead’s Creep!
I contacted Stephane Plisson a few days ago, and he has already evolved and refined his mix and, especially, his routing by inserting a Crane Song Hedd 192 on the AES output and the 96 kHz outputs of the Midas to add warmth and the natural compression/limiting of a good ole half inch tape machine… but sparingly because “otherwise it does not mean anything anymore”. This device leads the API 2500 compressor and the end of the Dolby analogue chain. The singers were also treated to a V2.0 with the insertion of a Waves Multirack and C6 and API2500 plug-ins on lead vocals, and to a group with several compressors for the three songs where the eight artists sing together: a treat to stretch his fingers on the faders! Also, the treatment on individual solo voice will soon become an insert with microphone plug-ins in order to meet the color and style of each singer better. Finally, the console has also been updated in the meantime to version 2, a further evolution.
Here’s what he had to say: “The main function, and that which is missing on other digital consoles, is a configurable input matrix, which allows, for example, to assign the effect returns by not tying up a stereo pair. So the lack of channels on the PRO6 is alleviated when we see that 16 lines terminate in two channels. To do this we use an internal effect which becomes a matrix, a which is ultimately not a sacrifice and that we can multiply if we wish to have more returns. This leaves the 56 preamps on the 56 mixing channels. The effects have also evolved quite a bit with the arrival of a multiband compressor which is very useful to me on the group of voices. Finally I modified the compressor algorithm, going back to the versions that are not ‘Vintage’, as those have a tendency to add harmonics that may somewhat harden the voice reproduction. It’s good to choose a tone color even if it requires reading the manual, which we tend not to do anymore. The new OS also allows remote control from an iPad. Finally, in addition to the PRO6, I also bought a Pro2 with a 32-preamplifier rack of the same series as the PRO6, which gives me with both desks, the power of an XL8.”
In short, television definitely sounds better on stage than at home!
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RCF Group has announced the sale of SGM, its lighting division, to a consortium headed by Danish entrepreneur Peter Johansen. with effect from February 1st 2012.
The new company, SGM A/S, which replaces the former SGM Technology for Lighting spa, will be headquartered in Aabyhøj, near Aarhus, and will concentrate exclusively on developing LED solutions, while continuing to support SGM’s current catalogue of discharge lighting.
For Peter Johansen, the man who originally founded Martin Professional, and who joined SGM in late 2010 as R&D director, the buyout provides the opportunity to spearhead his own company again, dedicated to LED development in the entertainment and architectural segments.
Peter Johansen said “I am delighted to be back as an independent operator, as I have always worked better this way.”
However, the two companies will not be making a total split. RCF will continue to represent SGM in Italy, dBTechnologies will distribute their products in Germany. The two companies will also exhibit side by side at Prolight+Sound in Frankfurt.
As the major shareholder in SGM A/S, Peter Johansen is joined by the LED specialists from his Danish R&D team and the existing SGM sales force. In the new set-up, R&D, admin and after-sales will be based in Denmark, with manufacturing plants in Italy, Thailand and China, and warehousing in Holland.
“The reason I’m so enthusiastic is that having had the opportunity to take over an existing brand name, and been given a free hand to develop it, we remain committed to establishing SGM as one of the absolute leading brands within the industry,” he said. “I want us to be seen as the LED company of the future.”
By the time Prolight+Sound opens on March 21st, SGM A/S anticipates having as many as 17 new LED products to showcase.
Contact
SGM A/S,
Soeren Frichs Vej 51-53,
DK – 8230 Aabyhoej,
Denmark.
Tel: +45 7020 7400.
E-mail (Sales): [email protected].
E-mail (Support): [email protected].
E-mail (Info): [email protected]
info: www.sgmlight.com
