Presented at Barcelona and available in six 4- and 8-channel models, Unica is Powersoft’s most advanced cloud-based amplification platform for medium and high-power systems. This range is set to grow both in terms of models and possibilities.

This new series required a team of 35 people and three years of work, which means 100 years of research and development potential in man-hours. Its Italian name, “Unica”, which means “unique” in the feminine, strong>explains the creative approach of Claudio Lastrucci, Scandicci’s amplifier master.

Powersoft co-founder and head of R&D, Claudio Lastrucci.

Unique because it offers a whole range of possibilities, flexibility and unprecedented resilience, and Unique again because a single networked platform is enough, through its six variants, to drive a practically infinite line of high-impedance ceiling speakers as well as the toughest of low-impedance subs… all at the same time.

Designed using Powersoft’s know-how in terms of power, sound quality, versatility, efficiency and reliability, the bar has been raised even further in these areas, while adding a significant element of innovation, which is in the DNA of the Italian brand and its response to the demands of integrators and players in the installation market.

The three high-power 4-channel models.

And the three high density models, with 8 channels in 1U.

Two separate lines make up the Unica family. Three 8-channel models with total power ratings of 2, 4 and 8 kW for theme parks and medium-sized venues requiring a large number of channels, and three 4-channel models with ratings of 9, 12 and 16 kW designed to meet the very high demands of large venues like stadiums or Arenas.
Each of the six models is housed in a single rack unit, and is capable of delivering peaks ranging from 160 to 220 V and 30 to 80 A, making it ideal for modern loudspeakers and beefy transducers. Channels can be bridged in pairs.

An 8-channel model with eight fans paired with the same number of heatsinks that resemble isophase waveguides. The air flow is front to back, with a filter that can be cleaned without needing any tools, and a noise level of 24 dBA in the absence of signal, or up to 53 dBA at full speed. Note the DSP under the heatsink with the Powersoft logo at top left, as well as the power reserve, which is nicely situated in the airflow and totals 18,200 µF at 200 V.

The efficiency achieved by all Unica series components – including the switch-mode power supply with its single-stage PFC, the network inputs, the DSP and the latest-generation output stages controlled by the Smart Rails Management system – is the highest in the Powersoft catalog, as well as the highest on the market, at 88%. The same is true of the signal-to-noise ratio, the compact design of the circuits and the extremely low distortion levels, the absolute best of all models from the Florentine manufacturer.

A view of the three RJ45 ports and the USB port, where a memory stick stores the unit’s configuration, making it easy to replace in the event of failure.

Particular emphasis has been placed on reliability, with a redundant network input, rigorous management of heat dissipation, circuits designed to prevent a failure from spreading to the whole amp, and very short restart times after a power failure.

Finally, the replacement of a unit can be carried out simply by an electrician, or even by the owner of the venue, thanks to a complete backup of the parameters stored on the USB key located on the faulty amp, which simply needs to be inserted into the replacement unit. Powersoft calls this Easy Swap. To find out more about the Easy Swap function, a White Paper is available here.

A careful study of the heatsinks enabled the manufacturer to lengthen them to increase the surface area and the quality of heat exchange with the air, which in turn reduced the speed of the air and the noise generated.

As always, the rear panel tells the whole story. The two terminal blocks on the left are the amp outputs. The double row houses the eight balanced analog inputs, followed by the GPIO and other standby and level terminals and, finally, the three ethernet ports.

Among the new features specific to the Unica series, the presence of a PoE+ power supply on the amplifier’s network connections means that the amplifier can be programmed before the power supply is connected, a plus for integrators, and also offers almost instantaneous audio return after a power failure, since the DSP remains powered.

With PoE++ in class 8 and beyond, it’s even possible to test loudspeakers with 8 W power on each output, which has been requested by a large number of consultants, potentially saving a great deal of time on job sites. If you’re interested in this PoE function, Powersoft has published a White Paper available here.
Of course, it’s possible to control each amp via the proprietary ArmoniaPLUS software, but more importantly, it’s possible to connect to Universo, the cloud specially created by Powersoft to monitor and remotely control any connected Unica unit.

Luca Giorgi with Claudio Lastrucci in the background.

At the presentation of the range, Claudio Lastrucci, the R&D Director who followed the Sales Director Luca Giorgi, suggested that Unica has sufficiently open, innovative and powerful technology to ensure that this platform, which already offers a great deal compared to Due, Quattro and Ottocanali, will offer even more, including surprises in the near future in terms of functionality, hardware, software and cloud, where much is still in development.
He added that Unica is built to last, and will have a longer life cycle than other Powersoft ranges.

The 4- and 8-channel models will be available starting in the 4th quarter of 2023.

For more information, click here to visit the Powersoft website

For those who might not be familiar with the brand, RCF is a pro audio manufacturer with a comprehensive catalog of active and passive loudspeakers. From ultra-flat ceiling speakers, to line arrays, studio monitors and stadium loudspeakers, their various product lines cover all applications involving audio diffusion and reinforcement.

Davide Romani

We caught up with Daniele Romani, RCF Audio Systems Designer, for an overview of the latest products from the Italian company.

Although RCF is specialized in active loudspeakers, the company also offers a wide range of passive products, now boasting three ranges of amplifiers:
the sturdy and spartan two-channel IPS series, the powerful multi-channel QPS series and, last but not least, the two four-channel amplified controllers with DSP and RDNet control, XPS 16KD and XPS 16K.
The latter two – which differ only in the presence, or not, of a Dante port – deliver the performance needed to power the Italian company’s largest and most demanding passive products.

With 4,000 W per channel at 2.7 ohms and a switching power supply driven by a next-generation PFC, control via RDNet or the on-board 4.3″ touchscreen, 40-bit floating-point processing, 96 kHz operation and more, this amplified controller is a serious beast.

The big advantage for users of RCF’s active models is that monitoring and control of their externally-amplified systems has become just as simple and comparable in every way to that of their active models. Once you’ve assigned a speaker preset to an amp channel, you’ll find all its available settings and, with the XPS 16X and 16XD, there are plenty of them.

The XPS 16KD, with power, connectivity and comprehensive DSP.

SLU : These two amplifiers pave the way for the arrival of a new generation of passive loudspeakers in the RCF catalog…

Davide Romani : We already have a number of passive installation loudspeakers that will benefit from this amplifier, which also incorporates FirPhase crossovers and Bass Motion Control, a specific algorithm for bass transducers that keeps the cones within a defined envelope and protects them from fatigue, distortion or even failure. It’s also true that these amplified controllers will be used on a new forthcoming generation of touring loudspeakers that will take full advantage of their potential.

SLU : Speaking of potential, the output modules used in your new amp have been developed by a renowned Danish manufacturer.

Davide Romani : Yes, like other pro brands, we entrusted the manufacture of these modules to Pascal Audio, a company with whom we like to collaborate because of the strong synergy we enjoy with them. In particular, we worked hard on the efficiency of the XPS amps, its ability to respond to any demand without ever going into stand-by.
We shared work and data with them, for example, when we were developing the DSP, so that the amp’s full potential could be exploited at all times.

The XPS DSP as displayed via RDNet, including 16 equalizers, as well as compensation for array size and air absorption.

SLU : Your DSP appears to be very comprehensive.

Davide Romani : It’s really loaded with features, including our own algorithms and a host of new possibilities such as 16 fully parametric EQs, advanced dynamic processing including dynamic equalizers, delays, bass shaping, air absorption compensation, mid-bass correction and all kinds of crossovers. The package is extremely comprehensive, in addition to the presets for each speaker model.

SLU : It must have taken quite a while to develop these new amplifiers

Davide Romani : Yes, but time, when you have it, can help to get things done, and with Covid we’ve had plenty of it, even though it was complicated by other logistical and component-sourcing issues. For the record, we started working on these two models in 2018, and the quality we’ve obtained is so high that they will be companions to the GTX series, a new high-power system that will be launched shortly.

SLU : The QPS amps already existed…

Davide Romani : Yes, absolutely, but the power supply of the new models is completely different, hence the term “Class HD”. Class H involves varying voltage levels that are activated in increments according to the amp’s requirements, in order to maximize its efficiency. With Class HD, instead of switching voltage in steps, the power supply follows the audio envelope, providing a little more than required, without the issue of incremental steps.
This type of operation improves efficiency and reduces temperature increase in the stages, not to mention offering the possibility to operate at rated power on loads down to 2 ohms, with both DC and VHF protection to prevent very high-frequency peaks from damaging the transducers.

The two new QPS models.

Last but not least, the QPS models support bridged operation. This series, which requires the use of an external processor like the DX1616 or DX4008, will be a big hit with integrators thanks to its power, reliability and size.

SLU : So, out with the IPS, in with the new IPS K

Davide Romani : That’s right. This is our new entry-level 2-channel amplifier series; reliable, robust and with a wide range of models. As with the other series, the number with the “K” gives the total maximum power available at 4 ohms for the two channels.

The 5.0K from the IPS series, 5 kW at a very affordable price.

The power has been doubled from the last series to the new one, which was necessary since the old series started with a 2 x 300 W which, with an 8 ohm load, as it was frequently used, only delivered 170 W!
For such power levels, we have some very interesting retail amplifiers. Now with the IPS, we start with a 2 x 750 W at the bottom end and go up to the IPS 5K, which delivers 2 x 2,600.

The outputs are via Speakon and terminal blocks and, instead of a fuse, we’ve installed a resettable breaker. As you can see, we use large toroidal transformers which, in permanent installations, pose no problem and allow us to obtain the various voltages required for Class H. This fairly conservative configuration guarantees reliability and a very attractive price.

After power, let’s talk about wood

SLU : After power, now let’s talk about wood and, sometimes, composites: the Compact A series looks a lot like the ART series…

Davide Romani : That’s right, the cabinetry is derived from that series, the ART9 to be precise, and that’s why Compact A has handles, which aren’t essential in the installation market, but there are all the mechanical accessories that allow them to be installed.

The Compact A series, or “how to optimize costs with composite cabinetry already manufactured for the ART 9”.

The rear panel of the Compact A, where the amp module would be, instead houses the passive crossover with MOSFET protection for the driver, as well as the input/output Speakon connectors.

This series, which included only the 10” enclosure, is now expanded to include a 12” and a 15” model. The use of the same composite cabinet reduces its cost compared with wood, and gives it a modern look suitable for a number of applications, such as stage monitors for a theater.
The entire series uses our latest True Resistive Waveguide with constant directivity and the same 1.75” driver, with the bass reproduced by a 10”, 12” or 15” driver. The maximum SPL ranges from 128 to 130 dB.

SLU : Then there’s the all-wood Compact M

Davide Romani : These are excellent loudspeakers equipped with top-of-the-line Precision-series transducers. The grille is now visible and the foam is placed behind it, as requested by our customers. The smallest newcomer, the Compact M04, completes the small end of this range of two-way passive enclosures that also includes the M05, M06, M08, M10 and M12. Here too, the number indicates the diameter of the bass transducer.

The M04 is the smallest all-wood speaker that RCF has ever built. It’s a sealed-box enclosure with a 1” dome tweeter with a neodymium magnet, in a coaxial configuration with a 4” bass transducer. It sounds great, with a conical coverage pattern and a maximum SPL of 113 dB.
Of course, it needs a subwoofer to fill out the lower end of the spectrum, and its 16-ohm impedance means that you can run several speakers in parallel, making better use of the power available from your amplifiers. As with all Compact M models, the input is via a rear-mounted terminal blocks.

The complete Compact M series.

The M05 and M06 use the same 1” tweeter coupled with a specific waveguide, while the LF transducer uses bass reflex loading. At 115 and 116 dB, the SPL is reasonable, but the sound is particularly high-quality. Both models feature 120° x 80° coverage.
From the M08 up to the M12, the high end of the spectrum is handled by a 1.4” driver, which boosts the maximum SPL to 124 dB for the M08, and to a 129 dB for the M12.
This series will soon be ready for outdoor use, as its paint will be upgraded to polyurethane, and an internal water-repellent fabric and waterproof Amphenol connector will be available.

SLU : Are there any presets for Compact M?

Davide Romani : They are in development now, but this range of loudspeakers works very well even without presets. We have many customers who already have their amps and won’t be adding DSP platforms to implement them. Finally, the M models are solid and the drivers are protected by a bulb. On larger models, we opt for MOSFET.

SLU : There are also two new Compact C series models, the C 32 and C 45

Davide Romani : These replace the C 5112 and C 5215, each of which came in five different versions, according to the coverage angle of the waveguide. Now, the coverage can be adapted with optional guides.

The two new additions, C 32 and C 45.

The optional adapter completes the waveguide, allowing great flexibility for the Compact C Series.

These two new C 32 and C 45 enclosures represent the top-of-the-range compact, two-way passive installation speakers in the RCF catalog, and both feature titanium-dome drivers with neodymium magnets – with a 3” voice coil in the case of the 32 and a 4” in the case of the 45 – loaded by a waveguide with a native diffusion of 100° x 50°, which can be oriented as required. With adapters, you can obtain 100° x 25° and 60° x 25°.

A peek under the grille of the Compact C 45, a loudspeaker 100% made in Italy.

The two transducers that handle the lower end of the spectrum are also equipped with rare-earth magnets and have massive voice coils, measuring 3.5” for the 12” and 4” for the 15”. Their sensitivity of 97 and 98 dB, respectively, combined with their power handling capabilities, allow them to achieve SPLs of 137 and 138 dB.
With the C models, we’re clearly talking about a system designed for live performance, top-level clubs and any application requiring very high levels of performance. All the components come from our Reggio Emilia factory.

SLU : To conclude, what about the subs?

Davide Romani : We only missed by a few days the opportunity to present the S 15, the top-of-the-range companion to the S 10 and S 12. These are models designed for installation and are the companions of the Compact M.

The maximum SPL for the 10” and 12” are 124 and 125 dB respectively, with a bass response down to 50 and 40 Hz. We still don’t have the figures for the S 15.
There are two other 15” models dedicated to the C series, the S 8015 LP, for Low Profile, designed to slide under a piece of furniture or a bench seat to be discreet, it features bandpass loading. Then there’s the S 8015 with bass reflex loading.

In anticipation of the S 15, here are the S 12 and S 10, the installation subs for the Compact M series. For the Compact C series, it’s best to use the S 8015.

The respective SPLs are 135 and 133 dB, and the LF limit is 43 Hz for the bandpass and 35 Hz for the bass reflex. In any case, all these subs require the use of one of our DSPs to ensure proper coupling with the heads, and likewise effective protection.

Further information on:

– Electronics
– Two-way passive installation loudspeakers
– Passive installation subs

More info on the RCF website

To say that we had no idea that a Yamaha console would sooner or later fill out the DM series beyond the little DM3 would be a lie, but the fact remains that this DM7 is a *very* nice surprise, and we mean that. An excellent reminder that this brand built its first digital console 35 years – almost two generations – ago.

Unveiled at an event in the heart of London that was simultaneously very British and very Japanese, this console – actually two and a half, as you’ll see – is packed with hardware and software resources, and seems to be taking the CL Series by the shoulder and accompanying it towards a well-deserved retirement.

Andy Cooper

That being said, our hosts were quick to tell us that this is not the case, adding that the second piece of good news is that the QL, CL and PM Rivage are back on the assembly lines, and that Yamaha can again take orders and fill them, as the supply of components has found its way back to the Japanese assembly lines.

As always, it was Andy Cooper, PA Application Engineering Manager who had the privilege of unveiling a DM7 flanked by its DM7 Control sidecar and a DM7 Compact, with a delicious aroma of hot components filling the room. The three tuning forks are resonating again!

Kazunobu Kondo in 2018 during his 2018 presentation.

We were also pleased to see for the first time the AI algorithms applied to Audio Pro, demonstrated fire years earlier by their creator Kazunobu Kondo at the System Designer Conference at Disneyland Paris.

What seemed a distant promise, and Artificial Intelligence a rather far-fetched concept, now equips the DM7 and takes on the sweet name of Assist mode, with help to relieve the technician of repetitive tasks such as typing in the name of each instrument, or even more with HA Level (gain) and Fader Level (mixing).

The Fader Level display window.

In addition to the consoles, three add-on cards also make their appearance in a new, more powerful format, called PY. These offer a welcome supplement to what could have been a missing element in DM7’s immediate success.

The first three PY cards. There will undoubtedly be more to come.

PY8-AE offers 8 AES/EBU inputs and outputs with SRC.

PY64-MD connects 64 MADI streams with a Wordclock input for SRC.
Finally, the PY-Midi-GPI offers an input and output port for Midi and a GPI port.

Ideally, a second PY slot on the large DM7 would have been a welcome addition, but it’s safe to assume that a hardware extension will appear in the future to enable MIDI and AES, or MADI and MIDI at the same time…

But enough cherry-picking, let’s move on to a brief summary of what this new console has to offer, for an already defined and sensible price, which we’ll provide at the end of this article. First of all, let’s emphasize once again the power and versatility of the DM7.
This series is designed to deliver excellent audio performance with ergonomics optimized for live sound, events, broadcasting, streaming and hybrid mixing, where one console is used to mix more than one stream completely independently.

Overview

The all-in-one DM7 features high input and output capacities, both locally and via native Dante. Two models are available: the DM7 with 32 local inputs and 16 outputs, capable of handling 120 mono channels in a footprint of 793 mm x 564 mm, and the DM7 Compact with 16 local inputs and 16 outputs, capable of handling 72 mono channels in a footprint of 468 mm x 564 mm.

With the cover pulled back, the DM7 is revealed, along with its DM7 Control extension, which can be seen on the right.

Both models offer up to 144 networked Dante inputs/outputs at 96 kHz, plus 48 mix buses, 12 matrix buses and two stereo buses. They can be used with Yamaha R Series I/O racks and a variety of Dante peripherals for flexible, customizable audio systems.
Both consoles can be supplemented with the DM7 Control, a hardware extension to create a DM7-EX (or DM7-EX Compact) system. This unit adds more physical controls and is supplied with the additional Broadcast and Theater software packages.

Sound quality

The foundation of audio engineering must be transparent, uncolored sound: Yamaha mixing consoles are designed to capture sound with impeccable precision before letting users express their creativity.

The DM7 Compact’s on-screen equalization is extremely precise and responsive.

To achieve this, the DM7 series boasts a series of key features. For example, each Channel Strip includes the same four EQ types as the flagship RIVAGE PM series, as well as the all-new FET limiter and diode-bridge compressor. The signal order of the EQ and Dynamics 2 can also be modified.

On the Channel Strip (without drawing on the resources of the EQ Rack), you’ll find two dynamic processors, a FET limiter and a diode-bridge compressor, with a displayed log of their interventions, as well as a new balance between dry and processed sound, plus access to parallel mode.

Dan Dugan automatic mixing is included as standard. Pre-assigned to the Channel Strip, it automates up to 64 mixing channels without consuming EQ Rack resources.

The system also includes a range of virtual circuit modeling (VCM) plug-ins, such as the Portico 5033 equalizer and Portico 5043 compressor/limiter created in collaboration with Rupert Neve Designs, as well as the DaNSe dynamic noise suppressor and Dynamic EQ.
In addition, an effects rack provides access to a range of high-quality effects.

Operation

The DM7 series features a new, simpler and more efficient user interface, with more intuitive ergonomics, while retaining the familiar concepts associated with the brand’s consoles. Two large 12.1” touchscreens (only one on the DM7 Compact) combine intuitive and precise operation, using the screen’s physical encoders and Yamaha’s familiar “Touch and Turn” controls.

Between the two screens, the silver Touch and Turn knob.

A new Selected Channel View screen displays a list of information on individual channels, allowing quick access to the parameters the operator intends to use, as well as the overview screen for operation reminiscent of an analog console.
A histogram has also been added to the input meters to facilitate handling of the preamp levels. Another innovation for the DM7 series is the 7” utility screen, which provides easy access at all times to essential information and functions such as scene lists, user keys and meters.

Features

One of the major new features of the DM7 series is Split mode, which allows input channels, scenes and mix buses to be split so that a DM7 or DM7 Compact functions as two separate mixing consoles. With just one desk, users can mix FoH and monitors, FoH and broadcast or streaming without any compromise.

Part of the DM7 rear panel with the integration of the same powerful Dante card used in the Rivage series. 144 I/O channels at 96 kHz.

The integrated Dante network supports up to 144 input and output channels, and can be connected to devices from a wide range of manufacturers for flexible, highly scalable audio systems.

Preamplifier remote control and device control are also supported, making it easy to patch and control Dante devices from the console.

In addition, the DM7 series features a rear-panel USB-C port with audio interface functionality, offering 18 inputs/outputs for recording, distribution, playback as well as connection to conferencing systems, and control via MIDI devices and digital audio sequencers.

The DM7’s dual redundant power supply.

Naturally, Yamaha’s renowned reliability is at the heart of the DM7 series, and to take things a step further, it features a redundant power supply.

A wide range of software and applications are supported, including DM7 Editor, DM7 StageMix, MonitorMix, Console File Converter, ProVisionaire Control and ProVisionaire Touch, enabling offline setup, wireless mixing, monitor mixing and control (including peripheral devices)*.

Of course, scenes from the QL, CL and Rivage series can also be converted to DM7.

* DM7 Editor and DM7 StageMix allow users to enter channel names in the language of their choice.

The DM7 series includes an Open Sound Control (OSC) server function, which allows consoles to be controlled from OSC-compatible devices, and the DM7 Compact can be mounted in a standard 19” rack for convenience.

Expansion possibilities

The DM7 series can be expanded with the optional DM7 Control. By creating the DM7-EX (or DM7-EX Compact) system, this device adds two additional faders, user controls, an encoder wheel for digital audio sequencer control, scene memory controls, panning and monitors.
It provides a user-friendly working environment for productions such as musicals, which require precise triggering and scene changes, and shows where monitoring and controlling digital audio sequencing is essential**. (** DM7 Control requires DM7 V1.5 or higher firmware.)

Close-up of the DM7 Control with its three tuning forks. You can clearly see the transition from the DM7 surface to the extension surface, with its encoder wheel and joystick.

The DM7 Control comes with dedicated Broadcast and Theater software packages.

– The Broadcast package includes functions designed to facilitate broadcast mixing, including support for 5.1 surround sound, Mix Minus, Audio Follow Video and Loudness Meter.
– The Theater pack brings a number of features dedicated to live performance, such as Actors Library and DCA Scene Grid, as well as AFC Image control. These packs can be purchased separately for DM7 series users who don’t need the DM7 Control.

The single PY slot on the rear of the DM7.

The PY card slot on the rear panel of DM7 and DM7 Compact offers extensive connectivity with various audio formats.

The DM7 and DM7 Compact also come with VST Rack Elements, a plug-in hosting software that lets sound engineers create their own effects racks, as well as Steinberg’s Nuendo Live software optimized for live recording.

“Complementing our top-of-the-line RIVAGE PM and renowned CL and QL consoles, the DM7 series offers users a powerful option for starting their journey with Yamaha or expanding their Yamaha fleet,” says Thomas Hemery, General Manager Global Marketing and Sales, Yamaha Professional Solutions. “With future firmware updates, such as the significant new RIVAGE PM feature launching soon, the DM7 series will continue to evolve for many years to come.”

Andy demonstrating the new features at the DM7 presentation.

Feedback on DM7 from a number of key clients and the very first customers surveyed was unanimously positive, and it’s worth repeating that both consoles will be available starting in December, while the DM7 Control extension and the Theater and Broadcast software packages will be available in December 2023.

Public prices, excluding racks, are as follows:

DM7 Compact: 13 950 €
DM7: 26 450 €
DM7 Control: 4 500 €
Software packages: 2 000 €

The DM7 and, in the foreground, the DM7 Control extension. The two together are barely a meter wide.

Andy Cooper has produced a ten-minute video in English, in which he details as much as possible about what the two DM7 consoles and their extensions have to offer. Watch it here:

In conclusion, I’d like to thank Yamaha and Nicolas Vermot for their helpfulness, competence and patience during this brief London jaunt, and to all the European staff for their availability and warm welcome.

After 10 years of creation at the forefront of manufacturers, Ayrton presents its new spring summer 2023 collection in its cocoon of Prolight+Sound. In front of an audience of loyal admirers, a host of sharp-beamed Cobras fanned out in front of the image created by an army of Zondas.
The “indecent” amount of universes and fixtures, bending under video hypnosis, has nevertheless given way to the inventiveness of a show dedicated to musicals and cabaret by the lighting designer, Mister Stéphane Migné.
Above all, it is as much the gentle strokes as the fierce scratching of a claw done by the Washes with their creamy colors that enhanced the quality of the Ayrton light sources. Ayrtons next stars, the Argor and the Levante, did not strut down the runway but preferred to take the pose on stage, to show what Robe has in stall for the future.

The Ayrton show is about to start…

Argo 6

To balance between the Zonda 3 and Zonda 9, fans expected a mid-sized Zonda 6 that was ideal for human-sized stages. It is finally an Argo 6 that is unveiled, with all the expected features plus a last-minute twist: IP65 waterproofing right off the bat.
Recognizable by its rounded dome, the Argo 6 is a multisource wash equipped with 19 Osram 40 W RGBW lenses arranged in concentric circles. Its 4 to 56° zoom extends over the entire surface of the LED cluster, it’s a 280 mm disc with millions of colors.

Presented at Prolight+Sound, the Argo 6 FX and its waterproof protective dome.

The FX version offers individual control of each of the 19 50mm sources, with flowing rivers of video pixels, the famous LiquidEffect. If the Zonda 6 will not see the light of day, the IP65 versions of the Zonda will soon be available under the names Argo 3 and Argo 6.

Several innovations are part of the Argo to ensure maximum waterproofing. The most visible, its gigantic front lens cut in a transparent polycarbonate, without reflections, is joined to the body of the fixture.

A subtle relocation of the Pan and Tilt motors in the base unit has made it possible to isolate them, without having to waterproof the yoke of the fixture. The cooling also uses sealed fans, with an optimized system. Thus, despite the mechanical constraints, switching to the IP65 waterproof version, the overall weight was reduced by 20%.

The Argo 6 is available in FX or Wash versions. The FX version keeps its impressive DMX chart with its multiple combined layers of effects, pixel toggles, and video imitation. The Wash version also offers a wide range of controls for each LED, with future individual pixel management.

Another bonus on the access to device settings, in addition to the physical panel and the RDM, also adding an NFC chip in its new fixtures. Thanks to a dedicated Ayrton app, all you have to do is present your smartphone a few centimeters from the Argo to change the menu settings.

The specifications/data sheets of the Argos and Zondas are summarized here:

Marketing of the Argo 6 has just started, first deliveries for this summer.

Rivale

After many years of fine-tuning its range of fixtures, Ayrton, whose emblematic fixtures such as the Diablo, Khamsin, or Huracan have conquered many stages, has just presented its vision of the perfect fixture detailed here by Cyril Union, electronics and computer development engineer at Ayrton.

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Similar to the brand new design derived from that of the Cobra, more aggressive with angular edges and its lens set in a square frame, the Rivale Profile has all the latest innovations from Ayrton. If its size and its power consumption place it in the “3 series” (Ayrton’s most compact category), its large 160mm lens and its 450 W white module output an impressive flux of 27,000 lumens, leaving a Ghibli (a 5 series) far behind. Its zoom also leaves you in awe, with a 4-52°, at ease both in long range and in a wide beam.

IP65, improved ergonomics, and colors, the Rivale Profile is Ayrton’s future best-seller.

What is new is, in addition to the reboosted LED module, both the ergonomics of the projector and its color management.
For its handling (set-up, de-rig, etc…), the use of a new aluminum and magnesium alloy for the body has allowed a drastic reduction in weight and thickness, without sacrificing its strength.

The total weight is 27 kg, with a very slim yoke and a base unit that has also been redesigned to accommodate the Pan and Tilt motors and the waterproof connectors… because, just like the Argo 6, the Rivale is natively IP 65. An astonishing achievement, the thinness of this spot makes the waterproof fixtures of the competition look like they are WWII battleships.

We almost lost hope waiting for the change in handles on the fixture. Now 4 large handles on the yoke have replaced the smaller ones that were on the base unit, another gold star for that. On the base unit, the menu also benefits from the NFC chip and the Ayrton setting app, in addition to the TimoTwo LumenRadio receiver. At the rear, the connectors welcome a newcomer, a PowerCON copy to supply 4 devices in cascade/linked.

CMY management switches from CMY flags to gradient disks, to eliminate any aberrations in the center of the beam. This new, more homogeneous system is coupled with a CTO corrector and a new red enhancement with a dedicated saturation disc. The color rendering is almost perfect, and without…a Rivale.
The effects are linked as usual, with infinite Pan and Tilt rotation, 2 gobo wheels, an iris, a strobe, 2 prisms, 2 frost, an animation wheel, and 4 framing shutters.
The Rivale Profile model presented at Prolight+Sound was a pre-series. The official launch will take place at the beginning of autumn and may be accompanied by a Wash version.

More information on the Ayrton website

Huayra

The passion of Yvan Péard, founder of Ayrton, for motorsport, comes through in the countless number of fixtures he has invented. Always pushing the limits, he presented at Prolight+Sound a Concept Light, inspired by the Concept Car of the cult Italian car manufacturer Pagani. The opportunity to present a brand new 30,000-lumen color source in a revisited Huracán base.

The future Ayrton profile with additive color synthesis.

Using a color source in a Spot type fixture is a challenge. Low efficiency, complex calibration, and, cooling systems have made the majority of manufacturers favor a white source with an optical trichromacy, petal system, flags, or discs tinting the beam. However, the RGB way would make it possible to obtain much deeper, more powerful colors as well.

Ayrton, therefore, had an RGB + Lime source developed, no doubt approaching 1,000 W. A specific “mixing” box integrates the 3 sources (red, blue, and the green-lime mixture) into the matrix. An oversized cooling system was designed for the 3 blocks, still at the prototype stage.

This model is a presentation of Ayrton’s work on color and shows the technological advance of the French brand, and allows itself a public presentation of technologies that are still secret
Even if the fixture is functional, with the features of a Huracán and a zoom from 4 to 50°, it is still subject to changes. Given its size and its weight of 42 kg, it will undoubtedly seek a few thousand additional lumens to offer a real alternative to the plain white light source.

Bonus: the Ayrton Show

The Ayrton 2023 show was imagined by Stéphane Migné and programmed by Arnaud Pierrel, with the help of Robin Terrier and Rémi Derruau, from Ayrton France. It was set up and designed during the month of March and required 394 fixtures, for a power consumption of 380 kW. 111 Cobra, 24 Domino Wash, 24 Huracán Wash, 109 Zonda 3 FX, and, 126 Zonda 9 FX.

AYRTON – Prolight+Sound 2023 from Ayrton on Vimeo.

The programming was done on a GdMA3, soft 3 versions 1.8.8.2, with 5 GPUs. 700 universes were sent via sACN, including 650 by a Resolume media server. Pixel management was done with Mad Mapper.

The SLU Innovation Award is for the Augment3D Scanner App. It is the first 3D scanning application integrated into a lighting console. It works on iPhone or Android in conjunction with version 3.2 of the EOS consoles (see below in the article.).

Le stand ETC à PLS23

EOS 3.2

Present in the vast majority of theater consoles, the Eos platform is the heart of ETC’s desks. From the Eos Classic to the Gio, from the Eos Ti to the recent Apex, ETC’s leading software has been evolving for more than 16 years and is still experiencing many improvements. In order to prepare the next version, which will be substantial, the programmers have done a lot of work in the depths of the code, while dusting off the interface and proposing some ingenious new features.

Praised by operators, the Eos console is definitely standing strong in its time with state-of-the-art 3D and network tools. During the Prolight+Sound 2023, the ETC France teams, and in particular Eric Leroy, revealed to us all the innovations around Eos 3.2. The main functions of the 2023 line are in the incorporation of console settings directly into the software, and in the advanced integration of 3D.

Declan Randall, Training Program Coordinator, présente l’interface de la version 3.2

Device Settings

Thanks to the restructuring of its OS, the network settings and DMX protocols are now accessible without leaving the menu system, and allow you to change your settings almost on the fly. When touring different locations, the previous configuration is loaded and available when needed. It should be noted that changing the console’s IP address always requires a restart. The DMX protocols page, sACN, Art-net, and DMX outputs, as well as the Multi-user mode, also benefit from this improvement.

Capture d’écran des nouveaux réglages réseau de l’EOS 3.2.

Augment3d

3D starts with a 3D import able to guzzle files, among other things, the MVR format, new possibilities to change the texture or the color of 3D objects, and a new pivot point mode for repositioning correctly in space. It also allows you to adopt the new ‘Fixture Point Of View’ tool to effectively adjust the framing blades in the 3D view by putting yourself in the place of the desired fixture. But the most important thing is allowing for specific spaces in 3D.

In addition to modeling your stage using your phone (see the following part of the article), areas called ‘Augment3d Zones’ allow automatic interaction with the lighting cue sheet. By defining a zone with specific criteria (switching off, switching on, applying a preset or a macro), the fixtures whose beam passes over this zone see their behavior change automatically. Amazing when it is necessary to avoid blinding the first rows of spectators during a position effect.

This evolution can be combined with SEM Focus Palettes. SEM (Scenic Element Mobile) are mobile objects on stage (platform or actor) whose XYZ coordinates are transmitted in OSC (Open Sound Control) to the console. Instead of defining a fixed position preset, the operator can now assign the SEM to fixtures, which will track it. Of course, the computing power needed to take full advantage of the Augment3d isn’t always available within the console. ETC, therefore, advises using a remote computer to manage 3D separately on the network.

Additive Color Calibration

If the color calibration of ETC fixtures or partner manufacturers like Robert Juliat allows almost perfect cohesion, this is not the case for all the fixtures available on the market. To match them, a setting allows you to define the color of each emitting LED in their libraries. For tint selection, the EOS now allows working in CIE XY coordinates.

Fenêtre de calibration de couleurs. L’indigo (ou UV) n’est pas validé par défaut.

Other

In addition to the resolution of numerous bugs, several changes make it possible to make programming more fluid:

– The Sneak function allows the use of a delay time in addition to the fade.
– The Fan function “remembers” its last use with the Press and Hold Fan function.
– A Preheat Preset function is available.
– The clock/Timer has different types of settings.
– The framing(borders) of the Layouts in the WorkSpace are customizable.
– A search function in the Macros is added, it doubles as a new search window with a virtual keyboard.
– A basic show, or Template Showfile, has arrived.
– The Apex Scroll Wheels allow for fast page changes.
– Touch-sensitive secondary windows have haptic feedback, which will soon be available on the Fader screens.

To immerse yourself even more in the software, a major presentation video awaits you on the YouTube d’ETC channel:

Augment3D Scanner App

While ETC fixtures and consoles are designed and manufactured in Middleton (Wisconsin, USA), the augmented reality application Augment3d Scanner App was developed by an ETC research developer who lives in Germany. The goal is simple, but the realization is complex: to be able to model a stage or stage set/decor in a few minutes with your phone and then transfer it to the 3D part of an Eos console.

Démonstration de l’appli Augment3D Scanner App par Mathias Wolf, développeur Software.

The App for iPhone or Android uses AR sensors to detect volumes through the phone’s camera. Superimposed on the image, the user can place points at each corner to build the walls of his room. The 3D plan is then constructed as space is explored.

Additional tools make it possible to add doors and windows, or to manage the sections in an arc of a circle and the specific construction of the prosceniums. With the help of a virtual magnet, or SNAP, if needed.

Once this first panoramic tour has been carried out on the stage floor whose ground has been used as a reference, the user loops and validates his 3D view by returning to click on the starting point. The application then builds a ‘Space’ file, in the extension ‘Augment3D’, stores it, and allows, if the phone is connected to the console’s network, to transfer the file to it in a few seconds. The stage will then appear in the 3D of the Eos, then be fine-tuned if necessary by the operator.

Available, this solution allow 3D construction in situ in some 15-20 minutes, then subsequently calibrate the position of the fixtures thanks to the functions of Augment3d. The operator can then take full advantage of his console with 3D interactions.

A spectacular advance in virtualization made fully operational by ETC in the classic world of theatre. Finally, thanks to Eos and its operators, the management of lighting in the Opera will almost be able to give lessons to Showbiz console operators and their long time attachment to aging software.

For further information on the ETC website

Please do not hesitate to take a look at the the YouTube chaine of ETC France, hosted by the extraordinary Pillou ‘Jamy’, an inexhaustible source of information.

Almost four years to the day after the presentation of the Xtylos, the first beam moving head using a laser source, Claypaky unveils on the same German lands a new fixture developed on a similar technical basis and designed to “walk” on the toes of sky tracers: the Skylos.

Dylan de Matteo, product manager at Claypaky highlights the new features at the stand in this video.

Skylos

If the projector itself could be similar to an imposing moving head of the beam type, its name leaves little doubt as to its abilities: the Skylos is indeed a skytracer, but that is not all! Inside its imposing head, behind the huge 30 cm diameter glass lens near the nose/front, hides a powerful light engine using laser sources and the first data sheet is surprising!
With a power consumption of 600 W, Claypaky claims to be able to compete with the 4000 W xenon lamps that are fitted to many searchlights!

Premier contact avec le Skylos, nouvelle création Claypaky dans la catégorie Beam/FX.

If until now a certain number of beam-type devices offered an alternative to sky tracers on short-distance projections, it is on long ranges that the light flux could not compete with that of a xenon source.

The promise did not fall on deaf ears and we can’t wait to be able to test the beast in more exhaustive conditions than those of an Exhibit Hall and maybe be able to tickle the clouds and beyond!
But back to the functions of the fixture. Unlike the Xtylos which is equipped with an RGB laser source where each primary color can be controlled, the Skylos uses a wheel of 15 colors to color its beam.

An interchangeable gobo wheel is there to animate the beam as well as several superimposable prisms such as a rotating 6-facet, a rotating linear, and a fixed 4-facet. The resulting combinations promise powerful “moonflower” effects.

The fixture has a module allowing a small zoom adjustment between 0.5 and 5°. A 5° “soft edge” frost filter is also installed on board. In charge of exteriors due to its skills, the Skylos is stamped IP66 with the word “marine”, designed to resist the abuse due to corrosion. Finally, the fixture has an internal temperature regulation system allowing it to operate in polar cold weather (-40°C at the lowest).

Midi B FX

Le Midi B FX au look quelque peu néorétro intergalactique.

Another Claypaky novelty, still in the same “spatial” spirit but this time with a more theatrical interpretation, the Midi B FX, is a wash that could be described as an “FX upgrade” of the Midi B.

It is neither more nor less than a classic Midi B to which we have added a perforated circular extension, of the same diameter as the head, a removable extension that integrates several independently controllable RGB LED strips.

If the effect is fun, Claypaky has fortunately thought of a quick dismantling system for the module, this one does not seem to be compatible with a beam other than tight except to create effects through the slits in the plastic casings.

For more information on the Claypaky website

On Saturday, March 4th, the final of the 4th edition of the Cqlp (Who is the Boss) 2023 by M-Light competition took place in partnership with Ayrton. The numbers speak for themselves: 401 Ayrton, Portman, and Astera fixtures, 1 grandMA 3, 2 grandMA 2, a jury of 4 professionals, 9 partners, 104 registered contestants, and 2 finalist teams.

CQLP Award, the only competition for lighting desk operators. This special Ayrton, Portman, and Astera edition will be remembered for the diversity of the tests given to the candidates.

For this new edition of the CQLP Award, the team behind the competition has partnered with Axente (Ayrton distributor in France) to offer a live broadcast that took place according to a modus operandi of television broadcasting. The professionalism and experience of the technicians involved gave it the high quality needed for this type and level of event.

The trophy this year was covered with LEDs, Wow!!

The finalists were welcomed with, a lighting kit of 401 fixtures, provided by Axente and Impact Evenement, was deployed on the set of the latter and a jury of four professionals: Sophie Limeul, director of photography, Aziz Baki, artistic director, Alain Lonchampt, lighting designer, Lukasz Sztejna, designer of the Portman projectors, was able to judge the qualities of the different shows “performed” by each of the two finalist teams, the Black Falcons and the White Grizzly’s.

The CQLP by Ayrton competition, which also featured Portman and Astera fixtures, really inspired the 104 participants and dazzled the jury.

The Design and the setup

The design was imagined by the whole team and finalized on Vectorworks by Thomas Jedwab-Wroclawski, manager of BeatPerLight and lighting designer.

(from left to right) Fred Fochesato, (Axente) and Thomas Jedwab-Wroclawski (BeatPerLight), take us through the lighting kit and tell us the anecdotes of the setup.

Thomas Jedwab-Wroclawski : We started with the partnership with Ayrton to begin the design without knowing the availability of equipment or the room/venue.
As we progressed, we gradually targeted the products that we were going to highlight and added Portman and Astera projectors also distributed by Axente.

We were inspired by a racecar track while giving ourselves the possibility of having a three-dimensional look for the kit to highlight the fixtures’ shape. Eventually, we had several layers of fixtures backlit by the upstage ones. Players, therefore, had the opportunity to work with a perspective with the main subject being the spotlights. Personally, I found this idea quite appealing.

Maxime Raffin helped Yannick Duc (both co-founders of CQLP) to finalize his correct positioning before the live broadcast on the Internet.

SLU : Did you run into any problems?

Thomas Jedwab-Wroclawski : At the beginning, there were a lot of big fixtures, and thanks to the Portman and Astera fixtures, we were able to complete this design with very interesting and complementary lights from a creative point of view.
Portman highlights the kit with its LEDs which emulate halogen very well and the Astera fixtures are easy to install and use without big power supply needs.

SLU : How did the adapting of the kit go in the Impact Evenement studio?

Thomas Jedwab-Wroclawski : During the first meeting, Pascal Bonnet, technical director at Impact, told me “I have a problem with 5.5 tonnes in overweight for the rigging”.
So it was a big technical “head scratcher” but in the end, after having restructured the entire rigging points of the studio, he was able to make adaptations which lead to a margin of maneuver of about 5 cm.
Everyone gave their all in their own specialization and we made voluntary adaptations for a stress-free site. I warmly thank him for knowing how to use a golden shoehorn (laughs).

The upstage wall is impressive and it seems that it can even change into a “Transformers” if necessary to save the world…

SLU : Was there a major difference in the colorimetry between the different manufacturers?

Thomas Jedwab-Wroclawski : Between Ayrton and Astera, the LED sources do not have quite the same shades or color temperatures, it is a classic between manufacturers, but we manage to match them easily.

SLU : And what about the Followspot?

Thomas Jedwab-Wroclawski : We have deployed a ZacTrack tracking system linked to some of our fixtures. This system is ultra-efficient and helps us to follow Remi, the host, thanks to two trackers that he keeps in his pockets. This allows him to navigate everywhere but without illuminating the whole stage. We get a focused point and that also is within our objective of using as much new technology as possible in our kit. The contestants also have them so they can be followed when they move around. This system uses eight antennas and five trackers.

The lighting kit

In the control room, everyone is hard at work and Yannick Duc (far left), co-founder of the CQLP competition and console operator, takes the time to pose for a photo before plunging right back into rehearsals. Everyone knows their score like the back of their hand.

About fifteen days were necessary to first uninstall the lighting kit from the Impact Evenement studio already installed, then successively remove all the rigging structures, redefine the rigging points, and reinstall the rig, so that the structures are as close to the side walls as possible, under the technical direction of Pascal Bonnet of Impact Evénement.

“Pascal redefined the whole rigging structure so that the kit could fit because at the very beginning of the project we had imagined a bigger room” explains Thomas Jedwab-Wroclawski.

The Cqlp / M-Light team then arrived at the beginning of the week with volunteers to finish the setup, give that last effort to settle the final little problems, and have it trouble-free. The team was therefore able to focus on rehearsals two days before the final, a tight schedule but an efficient one.

Frédéric Fochesato, product manager at Axente then presents the finished kit on site and thanks his colleagues Arnaud Da Silva Lachot, Julien Pereira, and Maxime Wolf for their interventions on this project.

The back wall is lined with 30 x Portman P1 Mini Led and 25 x Ayrton Zonda FX for maximum flexibility, a super “eye candy” look, and a nice backlight for the whole kit.

The back wall is made up of 35 x Portman P1 Mini LED – a recent product which, as its name indicates, is part of the LED evolution of the brand’s iconic device, alternating with 30 x Ayrton Zonda 9 FX.
With its circular matrix of 37 RGBW 40 W lenses and a luminous flux of 25,000 lumens for 1400 W maximum consumption, its zoom range extends from 4 to 56°.
Here the FX version is used for point-by-point management of a network of LEDs installed between the lenses and controllable in video or via a macro for a superb “LiquidEffect”.

The backlighting, seen here in a front view, alternates between the columns of the Zonda 9 FX and the P1 Mini LED.

Moving forward a notch, a concentric assembly of circular trusses from the largest diameter to the smallest.

Portman Mantis, Astera AX9, and Portman P1 Mini Led are rigged on separate circular trusses and enhanced by particularly elegant Astera Helios with their tubular shape.

The first outermost “circle” receives 10 x Ayrton Karif, the second carries 18 x Astera AX9 Power Par (in yellow on the plan), the third 10 x Portman Mantis, the most in the center 8 x Astera AX5 Triple Par (in blue in the plan) and the center 5 x Astera Mantis make up a circular shape like the trusses.

Not really complete circles but arched trusses to give great possibilities and depth to the major playground of the kit.

Like an enchanted parenthesis, two symmetrical structures nicely frame this crazy close-up background with a framework enhanced by 24 x Astera Titan Tube and from which 24 x Ayrton Zonda 9 FX washes project all their power.

To bring even more depth to the backdrop, two structures were designed with Titan Tubes and loaded with Zonda.

The Portman S-Tribe delight participants with their controllable band in detail and color. It gives depth to the stage and more span to the effects of the Ayrton Zonda 9 FX in addition to extending the beams of the Ayrton Cobra.

On the sides, stage left and mirrored on stage right, there is a set up pleasantly highlighted by 30 x Portman S-Tribe.

Positioned in “bas-relief”, they give a beautiful depth of field to the set. Portman’s latest 100% LED lighting creation, the S-Tribe, is recognizable by its tribal motifs.
With a linear format of 1.2 m, it has 5 warm white LED modules with an R7S LED in the center of each in front of a hammered reflector. These modules work alongside 10 small RGBW segments (strips) which are also LEDs.

Here again, the framework of the structure is enhanced by 31 x Hyperion Tube, and the stars of the set make their entrance: 24 x Ayrton Cobra, in reduced output “mode”, due to their power in this limited environment.

The SL structure (there is the same at SR) receives the 15 x Titan Tube, 12 x Cobra, and also two Huracans.

Installed in front of this wall, two grandMA 2 consoles are reserved for the contestants to control the kit. They will turn their backs on it to stay in a TV game show setup. Astera Hydra Panel, small and discreet with a battery of a maximum autonomy of 20 hours are used to pick up the shadows on the candidates.

The front light of the participants is by Astera Hydra Panels, here very discreet, they are hidden behind the microphone for additional lighting running on batteries.

With its 25 W of Titan RGBAM LEDs (red, green, blue, amber, and mint) the Hydra Panel is presented as a high-tech light fill. The quality of its beam, its 6 filters, and diffusers, as well as a wide range of rigging fittings, make the Hydra Panel one of the best floodlights in its category.

Both powerful and ultra-high quality, it accompanies its exceptional output of 1300 lumens with complete colorimetry and a range of well-calibrated whites with a CRI of 96. A Portman S-Tribe is, also, positioned in front of each of the two grandMA 2 consoles to display the points like a scoreboard.

The Ayrton WildSun K25 for a powerful wash thanks to its 17 White LED sources (7500 K).

On the floor, a first upstage row of 4 Ayrton WildSun K25 washes, with their punchy flux of 100 000 lumens.

6 x Ayrton Karif for beautiful volumetric beams ensure a second row.

And 8 x Ayrton Huracan Profile along with 6 x Ayrton Bora washes are arranged in a V on the set.

The floor kit.

The overhead rig is loaded with a beautiful matrix composed of 19 x Ayrton Eurus S and 48 x Astera Titan Tube which form a gnomonic square created by successive regular polygons.

Eurus S and Titan Tubes are together in this geometrical look for the set.

The Top trussing, squares are made of 48 Titan Tube with 19 profiles Eurus S inside.

Finally, a 100% LED kit with laser beams produced by the Cobras and to capture these beautiful sources, eleven PTZ cameras were coordinated, and controlled from the control room by director Séléné Grandchamp.

SLU : Did you have any surprises when turning on all these fixtures?

Frédéric Fochesato : We prepared and wired all the fixtures beforehand so that they only had to be hung. The only small struggle we had between the 3D render and reality concerned the Astera tubes which were rotated 180° and whose effects did not go in the right direction. However, with the Astera application, we solved this detail in a few minutes.

SLU : How was the lighting kit controlled?

Frédéric Fochesato : We have two control “rooms”, the main one with a grandMA3 with NPU3 for Yannick Duc and those for the players with grandMA2 with NPU2. For the network which carries several MA-Net 2, MA-Net 3, and Art-Net protocols, the idea was to adopt the simplest possible solution because there are a lot of machines on the set.

We had 3 distribution points, SR, SL, and Upstage with switches and ELC nodes because all the fixtures are wired and controlled by DMX. There is a MadMapper that sends 75 universes and which merges into the GrandMA3 console or into the contestants’ grandMA2 consoles to control the whole kit, and from the MadMapper there is another flow via Art-Net of 169 universes to ensure the transmission of the video signal in the Zonda FX. In total, we are up to 55,000 parameters in the fiber optic network.

SLU : Three separate lighting desks can control the kit, how was this managed?

Frédéric Fochesato : Yannick needed a visual cue to know who had control of the console at the moment T. I proposed the idea of installing a small Oxo PixyLine whose LEDs light up green or blue depending on the color code defined between him and the players. This avoids moments of stress “live” because console changes are frequent.

The Show

The Jury’s vote combined with the audience’s is how the contestants were to be evaluated.

From left to right : Aziz Baki, Sophie Limeul, Alain Longchampt and Lukasz Sztejna.

The white Grizzly’s Raphael Rowenczyn …

… Take on the Black Falcons, here with Quentin Douriez. The Portman S-Tribe set up in front of the grandMA 2 desks are ready to start counting the points.

The live of the final event

The winning Team

The Black Falcon team, made up of David Liou Tchen San and Quentin Douriez, won the favor of the jury and the public. A big “bravo” to them for this great success.

The “Black Falcon” Quentin Douriez (left) and David Liou Tchen San are the winners of the CQLP 2023 edition.

David Liou Tchen San grew up in Poitier and very young he was interested in painting. Through a friend, he got his first touring experience in 2009 for a group called “Slave Farm”. He then approached the Theater sector and the SMAC (a distinction the French government gives to a local venue) of his city, “Le Confort Moderne” in Poitier.
Enthralled, he is trained “on the fly” on different projects while working for the service provider “ZProfessionnel”. More recently he moved to Paris to become an operator. After going through all the stages, he is now a designer and console operator on live tours and events.

Quentin Douriez, trained in architecture, has a passion for enhancing volumes with light. By chance, he finds himself working as a Stage Hand/Carpenter, technical director, stage manager, or decorator for theater companies. One day he is asked to replace the lighting designer at short notice and it’s “love at first sight”.
He decides to devote himself to it and one thing leads to another meets Maxime Raffin, a reference in the industry. The latter invites him to back-to-back performances and get involved in more or less major tours and events as a board programmer/operator and technical director, in addition to his work in television which currently constitutes 50% of his professional timetable.

SLU : How did you two meet?

Quentin Douriez : In Riyadh, Saudi Arabia, in 2019, at a big festival where there were two of us at the inhouse/welcoming console with a kit that included between 800 and 1,000 fixtures. We quickly connected from a human point of view and we became friends because we have a similar vision of this profession. I really like his work.

The Ayrton Zonda 9 FX particularly stand out from a kit where quality was at the rendezvous with the tungsten colors of the Portman luminaires, the darlings of many lighting designers.

SLU : Why set yourself this challenge?

David Liou Tchen San : We found the idea rather fun and even if it takes time, the fact of being able to do it as a team had us convinced. Basically, it was an opportunity to have a good time with friends, and in the end, we won, it’s great!

SLU : Have you participated in this competition before?

Quentin Douriez : This is my second participation in this contest, but the first time I was a volunteer to support the project. When we decided to compete with David, we promised ourselves to take it seriously.

David Liou Tchen San : This is my first participation and I think it’s really nice. The atmosphere and hospitality on site are great. Maxime, Yannick, and all the volunteers gave us a warm welcome with a special mention for Thomas Jedwab-Wroclawski who was in charge of the consoles on the Wysiwyg station. I would also like to say a big thank you to the partners. They spoiled us and it was a pleasure.

SLU : How did you organize yourselves?

David Liou Tchen San : Quentin was more at the console. I also worked on the desk, but I had more of an eye on design or the “photography” in our collaboration.

SLU : In this kit was there a fixture that caught your eye?

David Liou Tchen San : I would say the Zonda. On CQLP we used it as a wash but I think we are far from having discovered all its qualities and it makes me want to look more closely at these fixtures. Otherwise, I tend to like tungsten a lot and so Portman projectors are my “drug of choice” if you will (laughs).

Quentin Douriez : For me too it is the Zonda. Honestly, it was a bit of a slap in the face. I think it’s a very nice fixture and that it offers lots of accessible possibilities and multiple ways of working with light. I would have liked to have had more time to make it prove its worth.

A grandMA 3 Command Wing, one of the major prizes in the competition, also includes a Vectorworks Vision Full license, a week of training at Oliverdy formation, a Smode license, and a Team portrait in Soundlightup.

SLU : You won a GrandMA 3 Command Wing, how will you use it?

Quentin Douriez : We have already discussed it with David and it is he who will get it. As far as I’m concerned, I sold my share to him at the market price and for my part, I plan to invest in a grandMA 3 Light but not right away, perhaps when creating my own business. That being said, we know full well that we will lend it to each other if necessary.

David Liou Tchen San : Before CQLP I already had plans to set up my business in some time. I already have a lot of consoles and software-type equipment in stock that I share with a colleague and this is an opportunity to have one more console available in it!

SLU : Do you have a message for people who would be interested in participating in the next competition?

Quentin Douriez : Have fun! Take inspiration from everything around you. The organizers of the competition are caring and believe in mutual aid. It is a very important event in the community sense. This is an opportunity for console operators and lighting designers to see further and meet each other. It’s very pleasant.

David Liou Tchen San and Quentin Douriez are the big winners of this edition, but I don’t think I’m wrong in saying that all the professionals who participated from near or far enjoyed this unique experience.
The audience, partners, volunteers, and participants have come together for a great collaboration on a project that finally seems to fill a void by offering the opportunity for console operators and lighting designers, beginners or experts from all sectors, to progress with kits of state-of-the-art fixtures well supervised and advised by the founders of the competition.
A fixture clearly sparks the “players” curiosity. It is the Ayrton Zonda 9 FX. Creative lighting par excellence, it seems not to have revealed all its secrets yet. Other very beautiful fixtures have taken over the set, including the ultimate Cobra beam, Portman luminaires and their golden light or Astera projectors, concentrates of technology with the particularity of being unanimously approved in cinema, video, TV, and live events….

I have a particular admiration for the great energy that everyone has put into this project. Congratulations again to all the volunteers and partners who gave life to the limitless ambition of Maxime Raffin and Yannick Duc, founders of the CQLP competition. 😉

For more information on the partners of the event:

– Cqlp by M-Light
– Ayrton
– Portman
– Astera
– Axente
– Impact Évènement
– Oliverdy Formations
– Vectorworks
– Design Express
– Smode