Ayrton is excited to announce the official launch of its new IP65-rated Argo 6 Wash and Argo 6 FX fixtures. ARGO 6 – Ayrton’s first weather-sealed effects luminaire. Feel the Freedom! For the first time in its history, Ayrton is launching a weather-sealed effects luminaire that offers as much creative potential indoors as outdoors. Argo 6 presents a minimalist design incorporating features for total protection against harsh weather with easier internal access.
The Argo 6 official launch video will be live online. Watch it below:
A new composite alloy, reduction in thickness of the parts, an optimised cooling system, simplified lens guidance, and integration of low-density optical components, mean Ayrton has been able to reduce overall weight by 20%. Meanwhile, the placement of pan & tilt motors in the base and head of the luminaire avoids the constraint of weatherproofing the yoke arms. A new submersible ventilation system in a non-waterproof compartment allows for optimal cooling.
Argo 6 FX
Available as Wash or FX versions, Argo 6 is equipped with 19 LEDs of 40W with RGB+W additive colour synthesis that can deliver a light output of 13,000 lumens. Its 280mm anti-reflective treated glass front window is designed to ensure optimal visuals and offers increased performance. Argo 6 can obtain a highly intense beam with a zoom ratio of 14:1 and a wide zoom range from 4° to 56°.
Argo 6 FX
Argo 6 FX is a versatile fully-equipped luminaire designed for a multitude of applications. It borrows from the main features of the Wash version and offers continuous rotation of the pan and tilt movement I.R.S.TM. Argo 6 FX is equipped with a high-definition liquid effect system enhanced by a translucent honeycomb that can generate complex graphic effects LiquidEffectTM.
Argo 6 Wash
Argo 6 Wash
For the first time, Ayrton has provided individual control of the LEDs on the Argo 6 Wash version and added a virtually infinite library of effects. Argo 6 Wash is a precise machine that can obtain perfect colour reproduction. A complete library of pre-programmed colours allows quick creation of subtle, dense and contrasting swaths of light. Its black honeycomb and perfect separation of the light sources help to significantly boost the level of contrast.
Argo 6 Wash and Argo 6 FX can be used alone or in combination with the main LED matrix. By allowing for more precision and exactness, they add a breath of creativity. Part of Ayrton’s Multi Sources IP65 6 Series, Argo 6 allows the rediscovery of a new sense of pure freedom.
Argo 6 is already being adopted worldwide by major players with PRG Middle East being the first company in the world to take stock of the new fixtures, closely followed by Procom and Media Pro, Lunatec of Poland and Axente in France; Ambersphere Solutions in the UK, ACT Entertainment in North America, Molpass in Italy and Show Technology in Australia. Watch this space for more stories to come!
For more information on Ayrton and its full range of LED and laser sourced products, visit www.ayrton.eu
SIXTY82, manufacturer of trussing and staging systems in the entertainment industry, is pleased to announce that Progear OÜ has been appointed as its exclusive distributor for Estonia. Progear OÜ is a dynamic and vibrant company that has quickly emerged as a significant player in the Estonian market. With a commitment to meet their customer’s needs swiftly, Progear OÜ has built up a comprehensive stock of SIXTY82 products, ready for distribution.
“We are thrilled to collaborate with Progear OÜ and extend our market reach in Estonia,” stated Rainier Smeding, Sales Director of SIXTY82. “Progear OÜ mirrors our dedication to delivering top-tier products and services. Their industry knowledge, resources, and passion position them perfectly to represent our brand and fuel our growth in this region.”
Brand Manager for SIXTY82 at Progear OÜ, Andreas Reinula, will be at the helm of this partnership. Andreas brings to the table a wealth of experience in the field and an unmatched enthusiasm for SIXTY82’s innovative solutions.
Raivo Sinijärv, Managing Partner at Progear OÜ, shared, “It’s an honour to be the exclusive distributor of SIXTY82 in Estonia. Their superior product design and reliability have left a significant impression on us, and we’re confident that our customers who are seeking cutting-edge trussing and staging solutions will feel the same. We are eagerly looking forward to a close collaboration with SIXTY82 and building a lasting partnership.”
Building on the company’s acclaimed expertise in compact, high-output, point source loudspeakers, NEXO’s P+ Series proved an instant hit following the launch of the P12 back in 2019.
P18 posé sur son nouveau subwoofer de référence, le L20.
Widely installed in theatres, halls, sports stadia and hospitality settings, and highly valued as essential inventory for countless rental and event production companies around the world, the P+ Series now expands with the launch at PLASA 2023 of the new the P18 and L20 sub.
Joining a range that already includes P8, P10, P12 and P15 models, the new P18 employs a long-excursion, Neodymium 18-inch LF / 4-inch diaphragm HF coaxial driver in a curvilinear enclosure of custom birch and poplar plywood.
La grille d’acier grande ouverte montre le puissant 18”, et le 4” prêt à accueillir les différents flanges.
The cabinet footprint is relatively compact, measuring 680mm x 579mm x 446mm. Frequency response is 50Hz-20kHz, and the SPL is an impressive 140dB Peak (passive mode) / 142dB Peak (active mode). Like other speakers in the P+ Series, versatility of the P18 is enhanced by an ingenious system for varying HF coverage patterns.
Horn flanges can be interchanged to deliver a choice of directivities – from the 60°x 60° that is provided as standard, to a 90°x 40° or an asymmetrical 50°- 90°x 40°. Switching between different directivities can be accomplished in just 15 seconds, easily removing the steel grille with a coin and replacing the flare, which uses a magnetic fixing.
Un combo très, très puissant, parfait pour un side, une sono très sérieuse pour un DJ, sans oublier un système audio principal de théâtre.
The new P18 is available in Touring, Installation (passive only) and hybrid TIS versions. In the Touring version, two large handles on each side hold a 35mm pole stand adaptor and Speakon connector for discrete connection when the cabinet is used on pole stands or in wedge monitor applications. Two other Speakon connectors are included on the back plate. In the Installation version, a cable gland with a 2-core cable for audio input ensures IP54 protection when it is used outdoors.
Joining existing L15 and L18 sub bass cabinets in the P+ Series, the new L20 uses a 20-inch long-excursion driver, achieving an SPL of 141dB Peak and extending LF response down to 28Hz.
L20, le dernier subwoofer de Nexo, et le premier à franchir la barrière des 18” .
NEXO NXAMPMK2 or DTD/ DTDAMP deliver tailored power and processing solutions, combining multi-channel, high powered, networkable amplification with sophisticated loudspeaker control and protection. Linear phase presets included for P+ cabinets in both vertical and horizontal configuration – and for the full range of NEXO cabinets – make it quick and easy to configure a ‘Plug & Play’ solution for any system.
NXAMP4X2MK2, le nouveau contrôleur de NEXO, est riche en ressources DSP et est prêt à fournir un total de 10 kW sur ses quatre sorties.
The new P18 and L20 are accompanied by a comprehensive range of accessories, enabling them to be used in a wide variety of touring and installed applications.
Following the acquisition of Claypaky by the ARRI Group six months ago, Claypaky CEO Marcus Graser reflects on the manufacturer’s commitments and current developments.
Claypaky CEO Marcus Graser answers our questions on the impact of the company’s acquisition by the Arri Group.
After the separation from Siemens AG through an IPO in 2023, OSRAM, the former mother company of Clay Paky, had been acquired by Austrian semiconductor company AMS in 2019. Shortly after finalizing these acquisitions, AMS-OSRAM announced its intention to divest certain activities, with the rationale that five or six companies, including Claypaky, were not part of the Group’s core business. As it turned out, this manufacturer was one of the last to be sold, due to delays stemming from the Covid pandemic.
Marcus Graser explains : “This strategy was purely focused on their core business, and I think it’s worked well for us so far. In fact, we’re very pleased with Arri as our new shareholder, and personally I fully understand the reason why Claypaky was sold. It made perfect sense and, I have to say, it was handled professionally.”
Claypaky is located near Bergamo in northern Italy.
SLU : During this period, was the company supported in its response to the pandemic?
Marcus Graser : Osram supported us in spite of revenue losses that were in the worst period as high as 80%… In terms of cash flow, the Group supported us in managing the costs associated with maintaining our staff over a long two-year period and even beyond to continue to invest into innovation and new products as well as machinery and modernization of our infrastructure
The changes and developments brought about by ARRI
It was a long planned transaction, with an investor who already had a strong presence in the world of lighting. Of course, one wonders what changes might occur, and whether a market logic might apply, or whether synergies between the two giants in the industry might be established. But the parties involved seem to be very attuned to each other’s unique characteristics, which is good news.
SLU : Will you continue to use Osram as your main supplier of LEDs and lamps?
Marcus Graser : We’ve always had a very flexible policy with Osram, in the sense that we always use the best LED or lamp for our fixtures. As it happens, some of our products don’t have an Osram lamp or LED. So we were really independent, always aiming to build good products. That said, Osram makes excellent products and, where we can, we use them.
Arri CEO Matthias Erb signs the Claypaky acquisition with CEO Marcus Graser.
SLU : In the wake of ARRI’s acquisition of Claypaky, will you be continuing production in Italy, and will this have an impact on your workforce?
Marcus Graser : Yes, we will continue to manufacture here. That’s the plan, and it’s also in line with our shareholders’ philosophy. In fact, I believe that Italian manufacturing is one of the reasons why ARRI bought the company.
They are also a company with a strong technology and industrial background, and there are advantages in terms of labor costs, which are lower than in Germany. There’s also a unique advantage in terms of hiring opportunities in the north of the country, which means that there’s a very good pool of engineers and production personnel. The current staff will therefore be retained, and we are actually looking for new talent. In 2023, we hope to be able to hire between 15-20 new colleagues.
SLU : Is everything currently manufactured in-house?
Marcus Graser : R&D is carried out in-house, and we are careful to maintain the right balance between innovative, high-end products made in Italy and entry-level products with production outsourced to the Far East.
SLU : How might Claypaky and ARRI develop their synergy?
Marcus Graser : ARRI is renowned as one of the market leaders in cinematographic equipment, or “CineStyle” as it is called, but also in sectors such as television, film production and theater.
Claypaky’s expertise is renowned the world over, and is now of interest to the film industry.
As far as Claypaky is concerned, I think that on the one hand it could open certain doors for us, as it seems that the film industry is using more and more moving heads.
On the other hand, we’ll definitely be working on certain technological synergies, as ARRI is known for delivering very high-quality color control, from which we could benefit. As for us, we’re renowned for our motorized fixtures, electronics and optics.
SLU : Is this work already underway?
Marcus Graser : Our engineers are already working together on certain projects. The good thing about ARRI is that they’re not looking for radical integration and reorganization. Instead, they’re looking to maintain Claypaky as a separate, independent business unit, while trying to foster the exchange of know-how. Our business is different, but at the same time also very complementary to theirs.
Marcus Graser, current CEO of Claypaky, has a 20-year professional career under his belt, starting out as a management consultant for Siemens. Three years later, he joined Osram and rose through the ranks within the group, moving from the automotive division to the architectural division, before finally being chosen to head the famous Italian show light manufacturing company. “The most challenging job of my career and the most exciting so far,” as he has himself described it. In September 2019, he would succeed his charismatic predecessor, Pio Nahum, who was retiring.
Marcus Graser : “You can imagine that it was already a rather peculiar time for Claypaky, as the company was emerging from a period of difficulty. And when I’d only been in the job for three months, the biggest crisis in decades began with the pandemic, followed by major difficulties in the component supply chain and a war in central Europe, on top of many other challenges”.
Positive, spirited and dynamic are the qualities of the new CEO, who is deeply committed to the success of the company and its partners. During this difficult period, he made a number of internal changes to cope with an industry in turmoil, and took the opportunity to introduce a new vision.
“We wanted to renovate and transform the company as a whole from innovation to process, people and culture. We therefore proposed changes in key areas, starting with an innovative approach, ranging from the development of totally new technologies, such as laser sources, to specific noise, color management and thermal management algorithms. The story continues today with the recent acquisition of the brand by the ARRI Group”.
Video Interview
Marcus Graser takes us on a tour of the Claypaky company in a video interview.
A “Smart Product” Portfolio that anticipates demand
Since taking up his new post in September 2019, Marcus has been working to develop the brand’s philosophy by making far-reaching changes. He has initiated work focusing on the product range.
Marcus Graser : “We have withdrawn products from the catalog that we felt were no longer in step with the times. At the same time, between 20 and 30 new products have been introduced to the range since 2019”. This initiative is designed to ensure that the company is well represented on the market in a variety of categories, power classes and source technologies.”
SLU : Do you expect further innovation in the LED sector, or do you think the technology has reached its peak in terms of efficiency and performance?
Marcus Graser : Yes, I expect LED technology to continue to evolve, and not just in terms of white LEDs, but also in terms of multicolor LED sources, to offer higher color quality and greater efficiency. We’re also likely to move towards the optimization of all systems involving the interaction between the LED light source, the thermal management of the electronics and the complete integration of these systems in a fixture.
What’s more, these days, almost all the new luminaires are IP65 rated, and there will be more innovations to come, like the use of new materials. But overall, I think the steps might be a little slower compared to the exponential evolutionary curve we’ve experienced with LEDs so far.”
Modernization continues with a digitization initiative that introduces new processes for customer relationship management, demand planning and forecasting. This digital aspect extends to Claypaky’s fixtures, which have become “Smart Products” thanks to the CloudIO system. The goal is to facilitate service and handling.
Another aspect of the changes that have taken place concerns the organization of production and the application of a Kanban workflow. “Our internal flow of products is now managed in this way, and we do the same with our suppliers. This more rational approach means we can minimize our inventories while maintaining good responsiveness”.
Arri has set up a Kanban-type production organization.
The Kanban method is a workflow management process first developed and applied by Toyota as a planning system, with the objective of “just-in-time” manufacturing. The downstream workstation communicates its needs to its “supplier” (upstream in the chain) via a set of labels called “Kanban” in Japanese, according to a “Pull” strategy.
The company’s values are reiterated to remobilize teams and encourage them to take training courses during the difficult Covid period.
In response to the pandemic, and because people remain at the heart of the business, Marcus, who is very attentive to the needs of the company’s 150 employees, decided to emphasize the positive aspects of the entertainment industry, which was at a standstill at the time, as well as the underlying missions and values.
“Our passion and our way of doing things must also be backed up by sound values. So we introduced the ‘Claypaky way’ program to take concrete steps in the direction of training to build everyone’s skills. New methods of collaboration have also been introduced, bringing together people who work in different departments”.
A fond acknowledgement to Davide Barbetta, Marketing Production Manager, who guided Marion Schneider (Head of Marketing at Dimatec in France) and myself through the company in the beautiful Italian light.
Davide Barbetta, Marketing Production Manager for Claypaky.
Marion Schneider, Marketing Manager at Dimatec, distributor for Claypaky brand in France.
A roadmap with expanded objectives
With a consolidated internal strategy, the company has been able to work on a roadmap to guide it through the next few years.
Marcus Graser : “Claypaky has always worked in the Touring Rental and Live sectors, accounting for over 70% of our business. Today, we’re trying to position the company on several pillars by strengthening our theatrical portfolio.
The Claypaky Sinfonya, a moving head designed for the theater for which the noise, the color and the beam had to be irreproachable.
Along these lines, new static fixtures were launched under the ADB by Claypaky brand (a brand traditionally dedicated to theater) at Prolight+Sound 2023. “The range will focus on modernity while respecting a good compromise between innovation and price”.
We all remember the recent decision to discontinue activities associated with the ADB Ocean console. This was a logical choice, given the strength of certain competitors, bbut one that seems to have been a little hasty given the return today of a rich offering aimed at the Theater.
The installation sector will also be addressed, and although Claypaky products may already be used for certain architectural applications, this is a sector in which the brand still has little presence. This objective now seems attainable, thanks to a distribution network that extends to over 70 countries.
The Claypaky touch
SLU : But what makes the company so special?
Marcus Graser answers without hesitation: “In addition, of course, to the ‘Italian touch’ – that is, the attention paid by Italians to design and a certain way of doing things – I think what really sets us apart is innovation. We have invested a major part of our resources, around 8% of our revenue. I think that is and always will be the backbone and DNA of the company”.
The Claypaky Sharpy is one of the brand’s flagship projectors, and features prominently in the company’s famous Museum of Light.
SLU : What products would exemplify this innovation?
Marcus Graser : The Sharpy, which took over every stage and TV production in the world, and long before it, the Astroraggi, which was very popular in discos, made the company famous. And even though the market is now much more mature and ever more competitive, we continue to innovate with fixtures such as the Xtylos, the first source equipped with an RGB laser engine developed entirely in-house.
The famous Astroraggi (the half sphere on the left), a symbol of innovation in the early 80s, stands alongside the battle between automated heads and mirror-servo projectors (at the back of the ring).
Source diversity is another of Claypaky’s hallmarks, as the CEO points out: “We’re one of the few manufacturers to use different source technologies in parallel. Whether it’s lamps, white and multicolor LED sources, RGB laser sources and, now a white laser.
I think another difference is that we’re one of the few companies still manufacturing here in Europe. Having our own know-how in the way we industrialize and manufacture products makes all the difference”.
Pascale Quadri, founder of Claypaky in 1978, pictured here on the brand’s first stand at SIM in Milan.
SLU : What about the products manufactured in China?
Marcus Graser : We use the ODM (Original Design Manufacturer) activity with a “Claypaky” imperative. In other words, we don’t just specify products. We also develop and design essential parts of the assemblies, to achieve a combination between the production capabilities of our manufacturers in China and our own skills. This is a significant difference compared with certain competitors who simply rebrand existing fixtures.
An Original Design Manufacturer, is a company that manufactures a white-label product on which another company can affix its brand.
SLU : Does this help combat the problem of Chinese imitations?
Marcus Graser : Thanks to our firmware, copying our products has been made more difficult. In addition, all our expertise in optics and light sources has been relocated in-house, and our dedicated engineers have been employed within Claypaky since three or four years ago. While copying continues for us and our competitors, I think the best response is still innovation and speed. Being the first brings competitive advantages, as with the laser source, and we take care to protect our ideas and create international intellectual property patents, even if this is not always effective, particularly in the Chinese market.
SLU : Does Claypaky have a flagship fixture at the moment?
Marcus Graser : We’ve moved away from a “hero product” strategy. Certain products have been very successful, such as the Unico, Mythos and Sharpy. Of course, we realized that if there were problems with the supply chain or copying, it would be difficult to stay ahead. So, if a product works well commercially, that’s fine, but we make sure that we’re also viable in various market segments and with different products.
The Volero Waveis currently well received around the world, although we’re still catching up on the supply side. It’s a fixture that opens up new effects and possibilities for lighting designers, thanks to its versatility. That said, many other products are selling very well, such as the Sharpy X-Frame and Sharpy Plus.
The Claypaky Volero Wave, with its unlimited range of effects, captured the attention of lighting designers during its public presentation.
The CP Green approach to production
With a power consumption of 600 W, the Claypaky Skylos can compete with 4,000 W xenon lamps.
With the launch of the new Skylos, a laser-powered skytracer capable of competing with 4,000 W xenon lamps, the manufacturer continues its revolution in environmental awareness. At the same time, a zero-carbon production strategy is becoming increasingly important.
Marcus Graser : In fact, for us innovation is not just about the product or the process, but also about the way we create it and its ultimate impact not only on the market but also on the environment. To my knowledge, we are the first and only company dedicated to entertainment lighting to have been officially certified ISO 14064-1.
This certifies our efforts to measure our carbon footprint. We did this for the first time in 2021, and our former Technical Director, who has now retired, is in charge of the CP Green project. The goal in calculating our carbon footprint is to reduce our emissions and become greenhouse-gas-neutral in our operations and facility by 2030.
ISO 14064-1:2018 Carbon inventory management system certification: Specification and guidance, at the organizational level, for validating the approach to quantifying and reporting greenhouse gas emissions and removal. (Source iso.org)
SLU : What concrete examples have you implemented?
Marcus Graser : We’ve optimized the building’s heating and will install solar panels on the roof to sustain a good part of our electricity consumption. For new car purchases, we always prefer electric models.
Claypaky commits to measuring its greenhouse gas emissions. A first step towards more environmentally friendly production, strongly supported by Marcus Graser.
Furthermore we try to optimize Supply Chain and transport routes to lower Carbon emissions. It’s a very serious project, which may one day have a commercial impact, but above all we think it’s important to do it as a company and “corporate citizen”.
The first and really difficult step was to measure our overall carbon footprint in a reliable and scientific way and derive a carbon management plan from that. Now we are into the next phase of looking for ways to reduce and compensate our emissions created by our company site.
SLU : Innovation in this field will surely arise from collaboration between manufacturers and users. Have you already received any specific requests in this area?
Marcus Graser : We’re seeing this more and more, as some top lighting designers, encouraged by their client artists, are emphasizing this point. Coldplay is one of them, and this sensitivity is spreading to other acts. I believe that Live Nation has set up a department dedicated to this issue, and some suppliers ask us to avoid plastic packaging. We’re also open to ideas for reducing CO2 emissions in the manufacture of our products. That’s why we invest heavily in laser technology, as these sources deliver high lumen-per-watt efficiency. For example, a very narrow powerful Beam like the Xtylos consumes around 300 watts, whereas an LED source would need minimum 1,000 or beyond watts and even not delivering the same result in the beam appearance than the laser source can provide!”
Since 2019, Claypaky has faced many challenges with a dynamic, modern and efficient approach under the leadership of Marcus Graser, the CEO who will soon be celebrating his fourth year at the helm of the company. Both internally and externally, the company is implementing new methods From R&D and Kanban manufacturing to product delivery. The optimization of the catalog, attention to customer requirements and ongoing innovations are all aimed at improving manufacturing and working conditions in order to maximize the brand’s customer base.
Their product range and production approach are being revised to meet the challenges of climate change in a timely fashion, a wise move in the race between premium manufacturers in a market that has become highly competitive over the years. Even if the engine has to rev up from time to time, you also have to be able to stand the test of time, and the Italian team has long understood this. Their know-how and reassuring, engaging approach continue to impress us.
Regent’s Park Open Air Theatre in London has become the first open air theatre in the UK to install Ayrton Perseo fixtures as part of its plan to update to a more sustainable and environmentally-responsible lighting rig.
20 Perseo Profiles have been supplied to this unique venue by White Light for the full 20-week summer season. White Light worked in close collaboration with the teams at Regent’s Park and Ambersphere, Ayrton’s exclusive distributor for the UK, to understand the aims, and facilitate the provision of the correct LED fixtures, to meet all the Theatre’s requirements. Joe Kirk, Regent’s Park Open Air Theatre’s Head of Lighting, was determined to make changes to the lighting inventory when he took on the role last year: “I wanted to replace the old rig of power-intensive tungsten and discharge moving lights with more sustainable LED replacements,” he says, “starting with 20 heavy discharge moving heads which were housed in large, unsightly wooden boxes on temporary truss towers.
“The weatherproofing was not very effective, the movers would overheat in hot weather, and their fans would frequently get blocked with pollen. Moving and maintaining 45kg fixtures at a height of 10m was both dangerous and inconvenient, often resulting in the need to refocus other lamps that got knocked in the process. They had to go!”
However, the replacement fixtures also needed to meet some strict criteria to be suitable for theatre lighting: “We needed high CRI, good colour mixing, good gobos and good quality dimming,” says Kirk. “Most IP rated moving lights cater more for rock and roll than theatre, so factors such as good dimming curve or the ability to differentiate between Lee 201 or Lee 202, are harder to come by. For theatre, the quality of the colour and the dimming really does matter.
“On top of this, it’s also really important we have bright fixtures because, as an open air theatre, our shows begin in daylight which means we need a lot of intensity. The stage is 17m wide and the truss towers 10m high, and most IP rated fixtures are heavy and not very bright, so we needed a moving light bright enough to cope with our throw distances, but not heavy to rig or high-maintenance.
Ayrton Perseo Profile
“I design the season rig, so I had a responsibility to make sure any replacement was equally as good as an indoor fixture and something that a theatre lighting designer was going to be happy with.”
White Light, with whom Regent’s Park Open Air Theatre has a long association, brought in Ambersphere’s Briony Berning to demo the Perseo along with other fixtures. “I was really impressed with Perseo’s theatre-friendliness, not only in terms of its high CRI, colour-mixing, gobo selection and zoom, but also its size, weight, intensity and reliability,” confirms Kirk.
“The reliability has made a huge difference to our maintenance budget and schedule. We no longer need to do a lamp round – and when the fixtures are 10m up a vertical truss tower, this is absolutely amazing! – and the problem of having different lamp colours each time one is replaced has simply gone away! My lamp budget has simply disappeared into the season hire budget.”
The Perseo Profiles are rigged on the four 10m high front of house temporary truss towers where they are completely exposed to the elements from April through to September. “The IP rating meant we could at last get rid of those ridiculous wooden boxes that protected the old fixtures, and the Perseos now look so neat and tidy and blend in with the rest of the lighting rig,” says Kirk. “They are the only moving light fixtures we allow LDs to re-rig!”
Kirk reports that the incoming LDs are very impressed with Perseo, “which is great as it is not a light a theatre LD would naturally come across while working indoors. They are significantly brighter than anything we have had before and have become absolute workhorses which will be heavily used on every show this season.”
“One of the most amazing features of the LED rig,” adds White Light’s Business Development Manager for Hires, Stuart Porter, “is, because of the brightness of the units, the shows are now lit the very moment they start – you can definitely tell the difference, even in daylight – so the magic begins from the very top of the show.”
As an open air theatre nestled in the centre of a London park, sustainability and environmental accountability is a big concern for Regent’s Park Open Air Theatre, and another area in which it is aligned with Ayrton’s philosophy. “Ayrton pays a lot of attention to ways in which it can improve its environmental credentials and this is important for us also,” explains Kirk.
“The power savings from changing twenty 1200kW discharge units to twenty 600W Perseo fixtures are huge! Pre-show rig checks also use minimal amounts of power now as Perseo can be switched on and off instantaneously, whereas the old discharge units would remain on from the start of rig check at 5pm. That’s a game-changer from our sustainability point of view. “So, from a production point of view the Perseo Profiles are amazing and reliable; from a design point of view the designers are happy with how bright the colours are and absolutely love everything about them, and from an environmental point of view Perseo is a natural go-to fixture. So, I am very, very happy with them, and so happy to be rid of those boxes!”
Lighting designer Mike Swinford of UpLate Design loves new tech as much as he loves the chance to be the first to use it, so he was delighted when everything aligned for rental company Fuse to invest in the first Robe Footsie luminaires to arrive in the USA … which he utilized as a key lighting element for the 2023 CMA Fest.
The 4-day festival is hosted by the Country Music Association (CMA) and recorded at the Nissan Stadium in Nashville, Tennessee, in front of live audiences and broadcast on ABC a couple of months later, but this year the popular airing date was brought forward from its traditional August slot to 19th July.
Mike has lit the star-studded multi-camera event for the last 21 years
Being a massive televisual event as well as four days of fantastic live music for fans there in the venue, key lighting is critical to everything. As a country music extravaganza, cowboy hats onstage are almost guaranteed and with that comes the inevitable shadows over faces which challenge lighting designers and directors … but this year Mike had an additional cool tool up his sleeve with the Footsie! Thirty Footsie luminaires were positioned in a line along the front of stage, giving Mike a stylish, clean, and solid strip of footlight illumination in the perfect place.
Mike used the inbuilt Footsie diffuser and commented, “They looked beautiful, very smooth, and worked perfectly for eliminating face shadows.” As the Footsie has an integral cable tray, all cabling was concealed resulting in a flat, streamlined look onstage emitting a smooth, high-quality output and impressing camera director Alan Carter and stage manager Cindy Sinclair as well.
“I had every confidence the fixture was exactly what we needed … and they worked precisely as I envisioned! Perfect job done!” declared Mike. Mike’s Footsie journey began a few months back at the Robe factory in the Czech Republic, when he saw late-stage prototypes of the ingenious product that was launched at Prolight+Sound in Frankfurt. He loved the idea so much that he specified them for the CMA Fest and the units arrived at Fuse via Robe North America just in time for their high profile live and TV debut.
Robe’s revolutionary IP65-rated Footsie redefines the concept of traditional ‘footlights’ with a smart design that effectively removes the visual barrier between audience and performers whilst delivering dynamic LED foot lighting, whatever the production, environment, or weather!
Footsie is currently available in two standard lengths, Footsie1 measures 600mm and Footsie2 is 1200mm – this was the size that Fuse ordered. The luminaire has a choice of warm or tuneable white LEDs or RGBW high power single chip LEDs. The classic warm white LEDs offer a CRI greater than 90 which is perfect for the key lighting of faces, which is exactly how they were used here. The tuneable white ranges from 2,700K – 6,500K.
The CMA Fest Footsie luminaires certainly had their waterproofness tested during the festival as the weather on the final night was seriously soggy! “They took A LOT of direct rain, we left them out there and they just worked flawlessly,” recalled Mike. Another huge advance for multi-camera environments is that pedestals in the pit, hand-helds and Steadicams onstage can shoot right over the low-profile Footsie luminaires, making no impact on sightlines. “It’s just a brilliant, inspired and highly practical fixture,” enthused Mike.
Additionally, he also specified 80 x Robe Spiider luminaires on the rig which were installed on 18 x 35 ft vertical towers positioned across the back and around the sides of stage and used for stage washing and for whizzy pixel effects which looked great in all the back-of-camera shots. On top of 10 of the towers at the back were 10 x Robe Forte luminaires, six running on RoboSpot followspot systems. Mike has been a big fan of this system since using them on a Kenny Chesney tour shortly after their launch. “Another great Robe product,” he says, referring to both the RoboSpot system and the newer Forte, currently Robe’s most powerful LED moving light.
Robe Spiider
Robe Forte
Mike thinks that Robe as a brand is good at “listening to what designers are discussing and wanting, and at responding with excellent products.” He worked alongside a talented FOH team including lead brogrammer Mark Butts, and Andre Petrus who took care of the key and audience lighting. They collaborated closely with television lighting director Mark Carver and gaffer Cole Kiracofe to produce a slick and dynamic live experience for country music fans in the stadium and watching on TV.
Fuse’s account handler was Scott Bishop. It was their first time as the CMA Fest lighting vendor, and Mike noted “they did an excellent job,” in addition to making the Footsie investment to ensure that he had the rig he wanted. “The CMA Fest is an iconic event in the country music and live production industries, and we were thrilled to be a part of it,” said Scott Bishop, Fuse Technical Group. When Scott and Fuse’s Kevin Forster were asked by Mike to supply the new Footsie luminaires as part of the lighting package, they knew they could count on Robe to deliver an innovative lighting solution. “It was a lot of fun to be one of the first production providers to see the Footsie in action,” Scott added. “It was robust and made a tremendous impact on the stage design.”
CMA Fest has moved away from having large amounts of video onstage in recent years, leaving lighting right at the forefront of the aesthetics. The biggest challenge was the tight time window and no rehearsals, straight in to the first night on Thursday, which even for professionals with the experience and skills of this team was some serious pressure! They did have some pre-viz time, but because it was a festival set up and many artists played special sets, no one was completely sure of what they were getting until the artists were onstage and playing live.
Mike takes all these challenges in stride, commenting that it’s also part of the enjoyment. Many of the production team have worked on the project for several years and a great synergy and creative energy exists between everyone across all departments.
For more press info about Robe Lighting, you can visit www.robe.cz
ETC returns to the Plasa Show in September with new seminars, state-of-the-art products and a unique games arcade area featuring the latest in lighting technology for visitors to explore.
This year, visitors to ETC’s stand B29 will get a chance to experience industry leading technology in a whole new light. The Arcade will feature some of ETC’s newest lighting solutions as a part of a series of interactive games for attendees to enjoy. Visitors are invited to the booth to put their skills to the test in three different games, all whilst playing against the clock and in for a chance to win some swag!
During the three-day show, ETC product specialists will also present a series of seminars in the Seminar Theatre 1 – Lighting + Production Theatre. On Sunday 3rd September from 13:00 – 13:45 BST, ETC’s Senior Product Manager Sarah Clausen will present ‘Hog 4 OS v4.0 – Hog’s Next Chapter’. This session will give an inside look into the anticipated upcoming Hog 4 OS v4.0 release which includes a brand new color system that is inspired by the award-winning Eos color engine.
On Monday 4th September, ETC’s Events and Training Specialist Graham Parker will demonstrate how easy and valuable it is to set up a 3D programming environment based on any stage in ‘Workflows, Tools and Tips – A Programmer’s Guide’ at 13:30 – 14:15 BST.
‘A Taste of Johnnie Walker’ will be hosted by ETC Training Program Coordinator Declan Randall on Tuesday 5th September from 13:30 – 14:15 BST. In this session visitors will find out all about the set up and powerful technology that was used to install an immersive storytelling space over eight floors of the Scotch brand’s flagship Edinburgh store.
A range of ETC’s latest product releases will also be showcased on stand B29. Visitors can get a close look at ETC’s newest line of automated fixtures – High End Systems Halcyon with sizes suitable for any application. The latest in entertainment lighting and control will also be displayed on the stand for visitors to see including ColorSource V and Source 4WRD Color II luminaires, Eos Apex control and much more.
The Plasa Show – the UK’s leading event for entertainment technology – will take place from the 3rd – 5th September 2023 at the Olympia London. Register for free to attend here
Founded in 1982, schoko pro GmbH has developed into one of the largest event technology service providers in Germany in more than 40 years. With its three units, the owner-managed company covers all areas of expertise:
– Original Stars: event and media technology incl. streaming & conferencing, – Mechanical Artists: stage technology, kinetics and special constructions, – Digital Performers: software, media & digital networking.
And it proves that technology can be creative and creative ideas work perfectly in technical terms. In search of spotlights that can be used for the most diverse requirements due to their versatility, schoko pro recently opted for products from the Cameo portfolio.
The investment included OPUS SP5 Profile Moving Heads, Zenit B200 Battery Led Outdoor Wash Lights and Zenit B60 B Battery IP65 Led Par Fixtures.
“We had already used Cameo regularly in dry hire at a wide variety of events and were thus able to convince ourselves of the qualities of the spotlights,” explains Wilko Weiß, Head of Department Lighting & Rigging at schoko pro. “The Opus SP5, with its two gobo wheels and aperture sliders, is versatile and a real workhorse that we can have fun with for the next few years and cover a lot of our events.”
With the two Zenit battery headlamps, schoko pro has replaced the old battery lamps in its in-house technology portfolio. In addition to Cameo’s smooth battery service, the Original-Team was particularly impressed by the performance and colour mixing of the RGBW LEDs as well as the accessory options.
“As we wanted something in the style of a classic ‘PAR-Kanne’ again in addition to the Zenit B200, we also decided on the Zenit B60: light and easy to use and therefore perfect as a classic uplight,” confirms Weiß. The new Cameo headlights – together with the Zenit W600 and Zenit W600 SMD LED Wash Lights – had their first major use at the renowned 24-hour race of Le Mans. In addition to outdoor events, the new models will also prove their flexibility at gala events and congresses, such as The Founder Summit, Germany’s largest start-up and entrepreneurial conference, which attracted more than 7,000 visitors to the RheinMain CongressCenter Wiesbaden this year. “As ambient light, as uplight, for background lighting or as an effect. We have even used the Zenit B200 as a small blind.”
Schoko pro is already planning new investments for the future, amongst other things, in the field of LED step lenses and profilers. For Wilko Weiß, Cameo will also be on the shortlist: “Cameo has developed very well over the years and is now a real alternative for us on the market. Also by working with large dry hire companies. In addition, fast communication and availability – especially in the current times – play a big role for us.”
schoko pro GmbH has invested in the following Cameo products:
Acclaimed and innovative, a mind-blowing new production of Richard II adapted by Canadian playwright and provocateur Brad Fraser is playing in the Tom Patterson Theatre as part of the 2023 Stratford Festival in Stratford, Ontario, Canada.
Conceived and directed by Jillian Keiley, the work is choreographed by Cameron Carver and lit by Leigh Ann Vardy who is utilising 12 x Astera Titan Tubes and four Helios Tubes as stunning and inventive lighting and visual props to assist the ambience and narrative flow.
Jillian Keiley wanted a minimalist stage setup, and as the creative team started to evolve the aesthetic – with the action set in a Studio 54-inspired disco steeped in the glamour, grit, and glitz of 1970s / 80s New York – it became essential to involve lighting elements that could take on the roles of both physical props … and metaphysical suggestion. In particular, they wanted light sources that a ‘Chorus of Angels’ could use and manipulate.
Leigh Ann, Jillian, and Stratford Festival’s technical director Greg Dougherty started looking at options for sourcing the right luminaires to meet this challenging brief, and it was Doug Ledingham, head LX for Stratford Festival’s Tom Patterson Theatre who first suggested looking at Astera’s wireless Tubes as a versatile and dynamic solution.
Chris Pegg from Astera’s Canadian distributor Lumenayre rocked up with some units and demonstrated some of the capabilities of the Tubes. “Basically, this was exactly what the creative team wanted,” stated Doug, “it was a ‘Holy Grail moment’.”
The confrontational piece asks some cerebral and awkward questions swirling around a time of general craziness, hedonism and living life full tilt, all juxtaposed with bathhouse raids, Stonewall, gender rights uprisings as the politics of conservatism and fear reverberated, threatening to throttle expression and freedom.
Leigh Ann was especially interested in the concepts of divinity and disco. “Richard believes his power comes from the divine, so I wanted to match the boldness of Brad’s adaptation with sharp, bright lighting to help support this play’s audacious vision!” she explained.
She was thrilled at seeing the first Titan Tube demo by Chris, “What was already in our imaginations in terms of lighting were these fixtures!” she stated, adding that she was even more impressed when the Titan and Helios Tubes “could do far more than I had anticipated.”
Initial concerns were that they might be too fragile or too heavy to work as hand-held props, but this dispelled as soon as she physically held them and saw firsthand “just how rugged and lightweight they are!”
The Tubes are used multiple times throughout the performance but never lighting an actor, set or scenery piece in a conventional way, an aspect that also fitted the lateral approach and brutal directness of the piece.
One of Leigh Ann’s favourites is a bath house scene when the cast enter in a transition holding the Titan Tubes. On a downbeat of music, the lights snap on and sputter out, creating a dramatic shift in the mood. The cast then place the Titan Tubes in patterns on the stage, unlit, and as each character enters a small ‘room’ created with them, they glow in different colours to outline the action. “So, they can work in an architecture context as well as illuminative!” she notes.
In the play’s prison scene, Richard, who believes God gives him the right to live above the rules, is banished to a prison near the end of the show, a stark look is achieved by flying a 4ft diameter disco ball in to about four feet above the stage.
Stephen Jackman-Torkoff as King Richard II in Richard II. Stratford Festival 2023. Photo by David Hou.
The Chorus of Angels then carry 12 Titan Tubes onstage and attach them to a custom-built cage around the disco ball. As the ball flies out, the Titan Tubes are eased down to create illuminated jail bars around Richard. The jail is ‘broken’ by a character wielding a Helios Tube and ‘smashing’ the bars which is highly effective with a combination of shattering glass sounds and Helios pixel effects.
In the final moment of the show, Richard is stabbed with a glowing pink Helios Tube, and as this happens, the colour drains out of the Tube as neon pink blood pours out of his wound.
All of these demonstrate the ingenuity and imagination of the creative team as well as the detail and finessing which is possible using Titan and Helios Tubes in this very precise and dramatic way. More ideas of how to integrate them dramatically and figuratively into the piece flowed freely as the production was developed.
For Leigh Ann, the most important aspect of the lighting fixtures needed to play all these parts was their ability to respond to effects, pixel mapping and control, plus “their excellent dimmer curves”, which enabled the host of very subtle effects as well as the big bold gestures. She notes that they were rarely run at full intensity, and “are super punchy, crisp and clear even at low intensities.”
A major general lighting challenge was keeping the show’s electric energy pumping, and this was also the most invigorating part of crafting the lighting. “It is a visual and auditory feast,” she described, “So pulling the audience’s eye to the critical story beats was my obsession through the tech process.”
Astera TitanTube
“The Astera Tubes were fundamental to achieving this,” Leigh Ann concluded, adding that she’s enjoyed creating a magical world that is “exciting, irreverent, and where the design elements have supported the storytelling throughout.”
From the Stratford Theatre’s standpoint, Doug is also very happy that they made the investment. Apart from being instrumental in Richard II, “they will be great stock items to have on hand and will definitely be used on future productions,” he stated.
The Stratford Festival workshops created some customised feet and bases for Richard II, allowing the Tubes to be quickly deployed around the stage as well as attached to bespoke pieces like the jail cell frame. “I already knew they were a fantastic product for film and TV applications, but for us, portability is a key and we can even programme them while actors are holding them and dancing! Being pixel driven, they can easily be integrated with our other pixel-based fixtures” remarked Doug.
Located in Stratford, Ontario, Canada, the Stratford Festival is North America’s largest classical repertory theatre company, producing and presenting a dozen or more shows a year in four distinctive venues. Works including classics, contemporary dramas, and musicals, with special emphasis on the timeless plays and ever-relevant writings of William Shakespeare.
For more info about Astera, you can visit astera-led.com
Dynamic French rapper Dinos played a special high-profile one-off gig at Paris’s Accor Arena to celebrate the launch of his latest studio album, Hiver à Paris. For his first show at this prestigious venue, lighting designer Damien Dufaitre from BlackMoon Design created a unique environment with 90 x Robe MegaPointes.
Damien, who has been working with Dinos for some time now, wanted to create a series of tableaux that were lively and provocative, but also raw and elegant, at a fast pace that matched the essence of Dinos’ music. “It was all about showcasing him and his music,” he confirms. He proposed an in-the-round concept with a central rectangular stage, covered in a video floor representing “a path of light”, like the way runways are sometimes used in fashion shows. Above this was a 4-sided ‘crown’ of 18 x 4 metre blow-through LED mimicking the similar 18 metre wide by 7 metre deep stage dimensions below.
Video content for the floor and the upper surface was created by BlackMoon working with another digital studio, The Vandals, with all collateral commissioned and carefully curated by Damien, who developed lighting and video in tandem. The stage was deliberately stripped back and bare, reflecting the video and the general aesthetic and mood of the artist’s world. When it came to lighting, he needed brightness and impact, so MegaPointe was an obvious choice as a key element of the rig.
Robe MegaPointe
The MegaPointes, supplied along with the rest of the lighting and technical production by DuShow, were positioned around the top of the screen trusses and the floor of the stage, framing the show from two very different perspectives. More were also rigged on structures high above the screens that were invisible to the audience to preserve the pure and stark look of the stage that was central to the show.
MegaPointes were chosen for their blistering intensity, excellent beams, and multiple features for creating effects and enhancing the depth of the performance space. Brightness and punch were essential to the specific lighting and video combination look that Damien crafted to define the show.
A row of 15 MegaPointes were positioned above the centre of the stage on a bridge and used for shooting beams out and around the arena and audience, as well as for close work and tight beams directly above Dinos and his guests. These same fixtures were also used for interplay with the semi-transparent top video screens.
In addition to commissioning the playback video content, Damien worked with camera director Clément Chabaut on integrating the live camera feeds with the playback media, especially for ‘dressing’ and texturing the video surfaces, when all sources had to be consistent and coherent.
Damien commented, “Robe fixtures feature on virtually all my designs! They are reliable, robust, precise, and available in quantity from many suppliers in France. When I want quality of light and fast movement … they are a fantastic choice!” Tight beams were important for this show as the fixtures were relatively close together and Damien needed to be able to shape the space immediately around the stage.
Lighting equipment for the show was supplied and installed by leading French rental company DuShow, with video provided by Alabama Media. Flames, pyro, and plenty of other impressive visual effects helped keep the show moving. Smoke or a “curtain” of sparks were used as visual trickery to reveal surprise guest entrances and conceal their exits, and facilitate Dinos’ own theatrically magic exit at the end of the show.
“It was a great achievement in terms of visual integration and teamwork by all levels of the production,” noted Damien. “I think we all enjoyed dealing with the challenges, solutions and processes in imagining some great results for the artist and the audience to appreciate and enjoy.”
Working alongside Damien at FOH was programmer Ugo Culetto, also from BlackMoon Design. DuShow’s lighting crew were Etienne Stoll, Brice Bennabi, Romain Barrey and Jean Christophe Rachesboeuf; the DuShow project manager was Régis Nguyen, and the overall production was co-ordinated and organised by Noueva Productions / Live Nation.
About BlackMoon Design: The lighting, visual design and scenography creative studio was founded in 2018 by Damien Dufaitre to offer fresh and innovative ideas to a diversity of performance clients and artists as well as a full production service from conception to completion. The company uses high-performance technological tools and works collaboratively building teams with the best, most experienced and appropriate practitioners to realise the individual project. The studio will also co-ordinate all the technical elements of a project if required, ensuring the smooth and seamless delivery of all visual aspects related to the show, event, or presentation. BlackMoon has no borders, working extensively across France and all around the world. (blackmoon-design.fr)
For more product and general info, check www.robe.cz
Two models make up the new range of sound reinforcement systems from German manufacturer LD Systems: the Maui 11 G3 and the Maui 28 G3. It’s the latter of these that we’re going to take a closer look at here and, more importantly, listen to. Without any mixing capability or microphone or instrument inputs, the 28 G3 is designed to offer no-nonsense sound, but with a 16 A power supply! Versions with a very nice mixer will arrive in January 2024.
The two elements, once assembled, form a very stable column mounted on the sub. It’s sturdy and hefty.
The size and weight of the enclosures make it clear that LD Systems didn’t choose composites for the cabinets, nor neodymium for the magnets (except for the two tweeters at the top). The subwoofer cabinet is constructed in 15 mm plywood, while the midrange and mid/high elements are in die-cast aluminum.
Numerous conveniently located handles on all three elements make them easy to manage, but the optional roll-board seems a wise investment for moving the complete, 37 kg system.
For this listening session, we were fortunate to have a stereo set-up – i.e. two subs and two mid/high columns – which, as you’ll read below, allowed us to review the standard mode, but also the configuration with two subs per head and, finally, the cardioid mode.
The guides that connect the two halves of the column and, in the case of the lower element, secure the column to the sub. The locking notches are clearly visible.
Assembling the column is no problem at all. The two elements of the column interlock securely with each other, thanks to steel posts, with notches that act as locks, that mate with holes. The top element is different from the bottom in that it has a cover on one end, while the bottom element has the holes on one end and the posts on the other.
We encountered significant, but perfectly normal, resistance when inserting and removing the posts, as our test system had been used very little but, with use, everything should get easier. The solidity of the assembly is reassuring, despite its 2-meter height.
A view of the subwoofer, which is reflex-loaded by four ports on the front panel.
Each sub features a serious 12″ transducer with a ferrite magnet, 3″ voice coil and a maximum excursion of 30 mm, loaded in bass reflex via ellipsoidal rear-wave ports. No need to add unnecessary suspense: it works well. Neither the cabinet nor the vents reveal any problems, even at very high levels.
Mounted on the back, the amplifier module drives both the 12″ and the array of 3.5″ drivers – 12 in all – loaded by a well-designed phase corrector, and featuring a rear opening that imparts true cardioid behavior between 100 Hz and 1 kHz.
The manufacturer’s representation of the column’s polar pattern and its behavior between 100 Hz and 1 kHz.
Finally, two one-inch tweeters handle the high end of the spectrum, thanks to an angled wave guide located at the very top of the column, at a height of two meters. The overall coverage is 120° horizontally by 30° vertically.
An exploded view showing the 15 transducers, ranging from the 12″ to the two 1″.
The amplifier module is equipped with a latest-generation DSP from LD Systems, operating at 48 kHz/24 bit, the task of which is simply to make it easy for the user of this type of system. A multi-band limiter is responsible for delivering a maximum SPL of 127 dB, whatever the incoming signal and, above all, whatever the level.
1 kW is divided between low and high frequencies, with a passive crossover feeding both tweeters. A FIR filter is used to transition between the low and the mid/high frequencies. We’ll talk a little later about the capacity of this processing to compensate for the overload that is often fed to this type of system. The rear panel is equipped with stylish, but rather inconspicuous LEDs to indicate clipping.
The rear-panel controls. It couldn’t be simpler. Three indicators are illuminated, including the limiter.
Designed for customers who don’t want to make life difficult for themselves, or for those who might rent the Maui 28 G3, it offers some very nice automatic features, such as automatic recognition of the presence of the column connected to the sub. Without the column, the “follower” sub next to the one with the column has its level settings and Bluetooth input disabled. Two options are available: An additional 6 dB of gain by aligning the two subwoofers in phase, or a cardioid mode by turning the second sub 180° and selecting the mode via the dedicated button. This provides extra energy towards the front and cancels some of the rear output.
Two 12″ woofers in phase provide an extra 6 dB…
While two 12″ units at 180° and a little DSP processing provide rear attenuation and some frontal gain.
Listening to it
To evaluate the potential and audio performance of the Maui 28 G3, we deployed it on a 200 m² stage, 20 meters long and 10 meters wide, with a capacity of 300 to 450 people. Sound sources included tracks with little or no mastering, instrument extracts and, deliberately, a few hits with a cruel lack of dynamics. Most of these were in high-resolution. A top-of-the-range Rockna Wavelight converter was used as the sound card and, above all, as a guarantee of impartiality, thanks to its uncompromising neutrality and balanced outputs.
The Maui 28 G3 units may be 2 meters tall, but from 20 meters away they look small… yet they can certainly make themselves heard!
Our very first impression is of the fidelity of the sound, which is balanced, fairly extended and devoid of aggressiveness. Without being overly analytical, the treble is clear and precise, passing sibilants without harshness. The upper midrange is powerful and takes full advantage of the two drivers placed at the top of the column.
The phase correctors placed in front of each 3.5″, seen with the column opened.
The midrange and lower midrange delivered by the dozen or so 3.5″ units have good energy and impact, making for a very fine snare drum sound, for example, but without any particular color. The crossover to the bass is natural, and the 12″ pushes well forward with fairly high definition. Its punch lends precision and body to low notes, say 4-string basses; less so when venturing lower.
The dynamics are rather generous, and it’s easy to find a satisfactory contour, no matter what color you’re looking for, as long as you don’t push the sub level too much, as it acts as a bass reinforcement rather than adding pressure and mud to a full-range loudspeaker. If you overload the bass, you’ll cover up its useful range with a bump around the crossover frequency.
The constant-directivity waveguide is inclined, which combines with its native diffusion angle to provide perfect coverage from far to near field.
The coverage is uniform, with no inconsistencies or unpleasant gaps. The 20-meter range is covered with great left-right summation compared to the system by itself. The carefully designed waveguide allows the treble to tackle this distance with confidence, with perfect distinction on the vocals. The lower end of the spectrum has a little more difficulty at this distance, which is to be expected with highly dynamic music, but does better with contemporary tracks.
It’s quite easy to trig the limiters, the bass first, and, as with any loudspeaker, you can’t expect to get the maximum SPL at full range. Nonetheless, by the time you have managed to activate the protection circuit, the level is very high, and sufficient for a 150-200 m² space. The sound remains impressive, and the distortion of the multi-band limiter is acceptable as long as you’re reasonable.
The rear of the column, with its two components. The grille allows part of the rear wave from the 3.5″ transducers to interfere, effectively reducing the level between 100 Hz and 1 kHz.
The calibration is well conceived, and at no point do you notice any spectral imbalance, for example, with the high midrange coming up too much once the bass is on the strings. If you push it too hard, it bites and chews, but you don’t get the impression that the amplifiers or transducers are running out of steam, which is a good thing.
Of course, we tried out the two modes of using a second subwoofer. In +6 dB additive mode, you gain a lot of energy, but not necessarily where you want it. You’ll need an external equalizer, or one in the console feeding the configuration, to bring out the extreme low frequencies.
The cardioid mode works, providing genuine rear attenuation, but less than expected, and a little more frontal volume. It’s up to you to test this process and judge whether it’s worth the effort, bearing in mind that the flexibility offered by this system will allow you, if need be, to rotate the two subs in 10 seconds, disengage the cardioid mode, and regain some useful power.
Conclusion
To sum it all up, the Maui 28 G3 effectively meets the need for a simple, portable, attractive and affordable sound system, and can offer many small venues, event organizers, DJs and public institutions a reliable and elegant answer to the need for sound reinforcement. In our opinion, the single left-right configuration offers the best price/performance ratio. Finally, to guarantee the durability and portability of the various components, in addition to the roll-board, LD Systems offers padded covers for the subs, and special padded bags to protect the two powder-coated aluminum sections of the columns.
Retail price for a Sub and Column set: €1,298 excluding VAT Retail price for a Sub alone: €848 ex VAT
The impressive façade of the Theatre Royal de la Monnaie de Munt (Royal Theatre of Munt) in central Brussels dates to 1818 and announces The National Opera of Belgium in great style and presence. Belgium’s leading opera house is a federal funded institution taking the name of this theatre in which it is housed – ‘La Monnaie’ in French or ‘De Munt’ in Dutch – referring both to the building and the opera company itself.
The theatre has just made a new lighting investment comprising Robe T2 Fresnels plus Robe Tetra1 and Tetra2 moving LED battens,which join its existing Robe T1 Profiles, two RoboSpot Systems running with T2 Profiles and 16 x Robe DL7S Profiles which were the first Robe purchases back in 2016.
Head of lighting Koen Raes explains that the main house will typically stage 8 opera productions per year in their 1200-capacity main house, of which around seven are usually new works plus one revival. All shows are acclaimed for their outstanding production values, talented artists, and creatives. This dynamic and interesting programme is original and exclusive to the Theatre Royal, whose house crew works with different external creative teams, but all the production elements are sourced where possible from the vast in-house resources.
When the initial Robe investment in 2016 was made, they already saw the writing on the wall and had the foresight to start converting the stage lighting to LED light sources. When the budget became available for this most recent purchase, Koen and his department – which includes 11 full time technicians and programmers – were fully focused on furthering this mission.
Several scenarios led them to the T2. “Firstly, we were getting requests for T2s from LDs,” explained Koen, “and secondly we are really happy with the quality of the Robe fixtures we already have, so it made sense to stay with the brand.” Referring to the two T2 Profiles acquires with the two RoboSpot systems, he noted that the quality of the colour ranges and colour mixing were a major factor, together with the accuracy of the framing shutters, the general output and the low noise.
RoboSpots have revolutionised how the follow system can work in the venue. They now have the flexibility of being able to utilise different positions for their T2 Profile follow fixtures, choosing the optimal for each individual production, although taking advantage of the height and angle of the 4th balcony has become a favourite.
Before, using conventional follow spots, the positions were higher up. It was more challenging to contain the light spillage onstage, it involved seat kills and they were noisy, so RoboSpots immediately eliminated all of those issues. It also allows other elements of the Robe lighting rig to be used with them if desired. The operators are positioned in the left and right side technical loges, a preferred position as they can feel the sound and atmosphere of the show right there beside them. Six of their existing T1 Profiles are rigged off the highest balcony, where they have the power, the throw and all the features to look great onstage.
Koen mentions the importance of good support and back-up from the local distributor, and they are very happy with Benelux distributor Controllux and also with Robe direct. Robe’s reliability is evident first hand by the fact that the DL7S luminaires are still going strong! They have had no issues since their installation nearly seven years ago, reports Koen. The Tetras (24 x Tetra2s and 4 x Tetra1 bars) were purchased to have something different and multipurpose, elucidated Koen. Rather than getting a quantity of PCs, they thought the Tetra2 would be more useful and functional as they can be footlights as well as cyc and set washes due to the lensing and intensity. On top of that, they can also be used as FX lights and specials.
Koen visited Robe’s factory in the Czech Republic last year and enjoyed meeting the team there including CEO Josef Valchar. “Having someone heading the company who is so hands on with the products, approachable and who listens is a great asset to the brand,” he observes, adding that he was impressed by the manufacturing setup and the general atmosphere at Robe HQ.
While the Theatre Royal de la Monnaie de Munt seems quite vast on the outside, the stage is actually very compact, and that’s one of the galvanising aspects of their ambitious full-scale productions. A repertory schedule would not be viable due to the space and the lack of room for convenient set storage, so instead shows will usually take up a six-week slot; three weeks of build, tech and rehearsals followed by a three-week run of shows.
A labyrinthine series of underground passages and tunnels – some large enough to drive a vehicle – connect the venue with multiple other adjacent buildings housing rehearsal studios, substantial scene storage areas, warehoused, technical rooms and copious, busy, bustling workshops and specialist ateliers, all helping to facilitate their world-class operas.
For more information about Robe Lighting, you can visit www.robe.cz
ChamSys consoles controlled a wide variety of shows at more than a dozen Glastonbury festival venues, from the Pyramid Stage, where Jason Hyne displayed his virtuosity on the MagicQ MQ250M Stadium console for Cat Stevens, blending soft washes with retro video images; to the Funkingham Palace, where David Howard used his MagicQ MQ250M to support relentless DJ Performances.
Another site where ChamSys versatility was front and center was at Kelis’ performance on the West Holts Stage. Sam Campbell used his MQ250M (supplied by DPL Production Lighting) to conjure up a wide array of looks for the New York singer, sashaying multi-color washes across the deck in sync with her hit “Got Your Money,” and moving to more in-your-face strobing looks for her performance of “Caught Out There.”
The MagicQ MQ250M ’s diverse capabilities supported a variety of performances at the Lonely Hearts Club stage. Fineline Lighting, which provided the console there, also furnished MagicQ MQ500M units for the Acoustic Stage, as well as the Circus Big Top.
Helping to generate visual excitement for a variety of acts outdoors was the MagicQ MQ500M that GLX Productions provided to the Flying Bus stage. Other ChamSys consoles that helped to make life brighter at Glastonbury were the MagicQ MQ50 Compact Console, used with a wing at the Glasto Latino stage, which was supplied by Mass Affect Lighting and Enlightened, and the MagicQ MQ70 Compact Console, used by Phil Dawkins at the Greenpeace Tree Stage in collaboration with set designer Belinda Best. That stage featured a surprise performance by Fat Boy Slim.
The MQ80 also contributed to the visual feast, being used at three venues: The Hive Stage (provided by Luke Adams Lighting), The Truth Stage (PF Events), and Left Feld (SWG Events).
Like ChamSys, noted designer / programmer Ed Warren seemed to be everywhere at Glastonbury. In addition to lighting a diverse group of musical acts at the festival, Warren was at Carhenge a mystical, dreamlike space where old, abandoned vehicles were arranged in vertical formations reminiscent of Stonehenge.
Working with his trusty MQ80, he mixed beams and a variety of redolent colours, to deepen the transcendent vibe at Carhenge. It was a look quite different than those created by other LDs that animated the performances of artists like Fat Boy Slim and Kelis, but all demonstrated the versatility of ChamSys, while contributing to the panorama that is Glastonbury.
If you are looking for a “matrixable” led bar that manages both whites and colors, which has an internal effects generator and a luminous flux of more than 11,000 lumens, I have what you need! 480 RGBW LEDs at your service in a 1-meter bar that resists the onslaught of all types of weather. The Italian brand Prolights has developed this all-terrain source with its full range of accessories. But wait until the end of this test, before you rush, we are going to tour together the possibilities of the LinearIP led bar.
When Prolights goes after the bar.
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Starter
As usual, we are welcomed into the La BS studio to carry out our fixture tests. By opening the multiple boxes, we are surprised by the number of accessories delivered as standard with the bar or as optional. There is of course a power cord and 2 Omega hooks delivered with the device as well as the MD diffusing filter, but there are also, as an option, 2 other ¼ turn stands/hooks to put the bar on the ground and then tilt it as needed.
480 leds…
… RGBW.
In a country where light is almost as important as the art of dining in its culture, it is normal to find a large number of brands developing and manufacturing fixtures. It is on the shores of the Tyrrhenian Sea, between Rome and Naples, that the Prolights company has its roots.
In the case of the LinearIP bar, there are 4 lines of 120 LEDs spread over 1 m for a little over 7 kg and 250 W in total. To control the diffusion of light Prolights also offers 3 additional diffusing filters, a 60° honeycomb filter and a 50° SnapGrid. There are also two central hooks, one fixed and one articulated.
One of the 4 diffusion filters that are simple and fast to mount.
60° honeycomb filter.
SnapGrid 50° made of fabric with velcro fasteners.
The brand has also thought of the safety cable, different cables for data and power supply, a box for updates, different wifi transmitters and receivers, aluminum clamps, and even a flight case for 5 bars with their accessories!
By positioning the ¼ turn fasteners straddling 2 bars, it is possible to combine several sources and create a continuous line. There is also a small button on one of the ends which allows you to release an axis. By entering a second bar, you can align and join the two elements. (see manual p. 7)
The ¼-turn “floor stand” model…
and the Oméga ¼ -turn clamps for rigging on a pipe or in a stage set element.
When it comes to connections they are very complete and well organized. On the antenna side for receiving DMX HF via the CRMX and W-DMX protocols, there is the power supply, the DMX XLR5 input, and the RJ45 connector for the Artnet and sACN protocols. On the end, a copy of the power supply for another fixture, the DMX XLR5 output, and a 3-pin connector to connect a 48 V battery and be autonomous.
We could have had another RJ45 socket but that required an additional card to avoid signal loss and therefore an additional cost. The choice could also have been a USB connector for updates. Life is full of choices and the one made by the Prolights team is completely justified, even very interesting because between the battery and the DMX HF signal the bar can be completely independent/stand-alone. We also notice on this side but under the fixture, a plug is embedded in the body of the device. It is used to check the IP65 proofing of the fixture, the whole procedure is described on page 83 of the manual.
On the antenna side: the power supply, DMX, network, and HF data inputs.
The connector caps to preserve the seal and at the top, the cap to check the IP65 proofing.
For configuration and, if needed, manual control, the LinearIP has a screen and 4 buttons. Navigation is very simple, the first button is used to choose the menu, the arrows to navigate within the selected menu, and the last button to choose the desired option. Note that virtually all options are available with the “control” DMX channel, making it easy to quickly set them up and configure all bars in the lighting kit.
Clear, simple, and efficient…a user-friendly menu.
Addressing is obviously not possible but you can use the RDM or the option in the menu which allows the configuration of the source to be transmitted to all the other fixtures with or without the DMX address.
When possible, it is interesting to favor the DMX HF signal because the bars each have a receiver but they can also transmit the signal. It is therefore very simple and fast to connect to the DMX network. It is also possible to input an Artnet, sACN, or WDMX signal and output it from the fixture via the DMX OUT connector or even input an ethernet signal and transmit it in Wireless DMX. As you can see, the menu has everything. There are a large number of settings for the dimmer curve, fan mode, led frequency, and even manual programming.
main course
The design is simple and sleek. The LinearIP bar is discreet, it can be integrated into a video set, at the foot of a castle, or in an opera set. Versatility is one of the great assets of this source and with the possibilities of diffusion, it is possible to use it in front, on the side, overhead, and backlighting. As we can see, the Prolights team left nothing to out. The control options are also very clear and complete. The LinearIP has a very large number of modes that allow the source to best adapt to the use you want to make of it.
In addition to the traditional options (Basic, Standard, Extended…) there are modes for the cinema and theater. There are two addresses, one for managing parameters and the other for controlling the 15 pixels of each bar and creating a large matrix in a lighting desk or media server. As I only have one bar I used the Extended mode using the Art-Net control. The fixture-to-console connection was made without any problem. Depending on the configuration of the default values of your console there is a small “trap” that must be checked first if you do not want to spend hours trying to see why you are not controlling the color.
There is a feature called “Crossfade from CCT to Color”. At 0% you work in “White” mode playing with output levels and color temperatures from 2800K to 10000K. By putting this parameter to 100% you are then in “Colors” mode and you can then modify the tint of the beam.
The same goes for working in “Pixel” mode. You have to use the “Crossfade for Pixel Engine” setting. If you want to use the LinearIP bar like a standard bar, apart from this point to know, you will quickly get used to it and surely take a liking to it. The general philosophy of the LinearIP bar is to work on 4 levels. The first level is the CCT, which allows to work on the Whites. The second level is the color mixing (you can choose between RGB, RGBW, CMY, or HSI). Levels 3 and 4 are used by Pixel Engines which work on 2 Ethernet protocols (ETH1 and ETH2).
As far as control is concerned, there are of course general Dimmer and Shutter parameters on the fixture for intensity and strobe. Depending on the mode used, you can also have dimmers and a shutter for the front and rear layers (Tour Foreground and Tour Background). Working in white mode as in color mode is very pleasant and precise.
In white, it is the CCT function that will determine the temperature of the white. We checked the color temperature of the whites programmed on our target and the values match. We also have 2 parameters to modify the selected white, the Tint which corresponds to the minus green, and the CTO. Regardless of the color mixing mode used, it is easy to find the desired shades.
Whites from 2800 K to 10000 K.
When you are in CCT mode it is of course possible to modify the values of the RGBW parameters and vice versa then use the parameter “Crossfade from CCT to Color” to make a transition between color and white. We will also use this parameter to color the white or, conversely, lighten a color. It is also a good way to create a pastel color starting from the saturated hue.
What beautiful colors!
The LinearIP bar also has a large number of color presets. To quickly choose from a very wide range of macros, there are 4 parameters. The first is “Control Mode” where you have to select “Colour Macro”. You can then choose from two catalogs, Lee and Colour, then a sub-category by type that offers a choice of gel references. It is also with the first of these parameters that we will be able to simulate a source such as a halogen bulb or a fluorescent tube, but also a candle or a computer screen. This parameter gives access to a range of cinema effects or white temperature macros.
As you can see, the possibilities are endless and Prolights has pulled out all the stops! If you want to use all the functions, especially the internal effects, I advise you to take a few hours to discover them to realize the extent of the possibilities and then be able to program the fixture quickly. I was not able to go into great depths into the internal effects, but the little that I saw is already awesome. When we add the possibility of matrixing the bars via a console and/or a media server we realize that there is practically no limit.
Video Presentation
Norman hole
Derating
The derating is insignificant.
As with all our tests, the figures we announce are after derating and with the basic options, fans in automatic mode and the medium diffuser.
The attenuation of light output after 30 minutes at full does not exceed 1.28%, in other words, the light is ultra-stable. This is an excellent result which confirms the quality of the design of this product.
Light output measures
The diffusion angle of the MD optic supplied as standard is so wide, 107° with the MD diffusing filter supplied as standard, that we had to place ourselves 1 m from the target to take our illumination measurements.
Once the luminous flux has stabilized (apart from the slight fluctuations due to the ventilation mode and the power supply) the output every 10 cm along the 4 axes drawn on our target. The value in the center reaches 4,900 lux at 1 meter, which becomes 196 lux over 5 meters. The total flux, conservative whatever the distance reaches 11,300 lumens after derating (11,400 when cold) for an aperture of 107° at I/10 (intensity at the center/10). For the CRI of the whites, no measurement drops below 93. We also appreciated the power of the saturated colors thanks to the RGBW source.
Dimmer curve from 0% to 100%.
Dimmer
The dimmer measurements are less convincing, but this is often the case in the first versions of the software and the curves are reworked and improved with updates.
Cheese and dessert
With the LinearIP bar, Prolights offers a very good product, versatile, complete, and successful. Equipped with a powerful RGBW source, this source makes you see all the colors but it also offers a wide range of whites and this is only the tip of the iceberg! In addition to the qualities of light and colors, the fixture has a full range of tools to be used in all possible configurations. Whether for programming, installation, or lighting, the LinearIP is as much at home on an opera stage as it is at the foot of the ramparts of a castle or on a TV set. So if you are looking for a “matrixable” LED bar that handles both whites and colors, has an internal effects generator and a light output of over 11,000 lumens call ESL today for a complete presentation.
Home to the French rugby league team the Catalans Dragons, Stade Gilbert Brutus in Perpignan underwent a 2-phase expansion in 2006 and 2010 to bring capacity up to 13,000 with 3 all-seater stands. The southern French city is also home to the rugby union team USAP, whose home stadium Stade Aimé Giral is equipped with a NEXO GEO S12 sound system, installed by local AV technology specialists Sud Media System.
Four very well hanged S12.
Clearly impressed by the sound at their neighbour’s stadium, Stade Gilbert Brutus recently contracted Sud Media System to install a NEXO system at their ground, following a public tender process.
The choice of several prestigious sporting venues including Croke Park in Dublin, Optus Stadium in Perth, Japan’s Toyota Stadium and the French national stadium the Stade de France, NEXO’s GEO S12 has earned an enviable global reputation for performance, dependability and cost-efficiency.
Available in EN54-rated and long-throw versions, and in shallow or steeper tapering cabinets to allow for larger array angles, the compact, 2-way GEO S12 is a scalable loudspeaker module that displays exceptional MF-LF output (103dB SPL nominal sensitivity -1W @1m) from a single 12-inch LF driver and NEXO’s proprietary Directivity Phase Device (DPD). NEXO’s unique Hyperboloid Reflective Wavesource (HRW) allows coupled cabinets to radiate as coherent, wavefronts, yielding precise pattern control in vertical or horizontal arrays.
The system at Stade Gilbert Brutus was designed by NEXO’s Engineering Support team using the company’s NS-1 system configuration software. An intuitive drag and drop interface includes all NEXO systems with measured speaker data processed along with complex mathematical data to predict SPL and delay coverage in 3 dimensions.
NS-1 combines full acoustical and mechanical computations along with tools for optimising curved vertical array design. A Help section defines mechanical constraints to establish flown system safety, and generates reports for system dimensions, weight, gravity centre position, forces, moments, working load and safety factors.
The Bonzoms Stand is covered by six clusters of 3 x GEO S12, supplemented by 6 x NEXO P10 point source loudspeakers covering the highest seats in the stand on a delay. Six clusters of 4 x GEO S12 cover the West Stand and a further 7 x P10s cover the smallest stand, with amplification and processing provided by NEXO’s networkable NXAMPMk2 powered controllers.
From left to right Didier Godin, CEO and Founder of Sud Media System, Carole Marsaud, Engineering Support Manager – Nexo and Bertrand Billon, Engineering Support – Nexo.
The notoriously windy conditions in Perpignan required the team at Sud Media System to manufacture and certify custom brackets to attach the new enclosure clusters to the existing structures.
Members of the NEXO Engineering Support team visited the stadium to tune and commission the new sound system, including Carole Marsaud (pictured centre). “It was good to work with the team from SMS who completed a very clean installation at this second stadium in Perpignan. The sound was great in all the stands, and we achieved excellent results for both SPL and intelligibility.”
For further information on NEXO sound solutions for sports stadia, visit nexo-sa.com
For further information on Sud Media System, visit sudmediasystem.fr
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