Netgear, the world-renowned network equipment manufacturer, has distinguished itself in recent years by offering powerful yet easy-to-use network architecture solutions to integrators and users of IP-based audiovisual systems.

The company’s involvement in the SDVoE protocol alliance and the development of the M4250 range have made Netgear a key player, particularly in the world of AV integration.

As the number of M4250, M4300 and M4500 series switches deployed in the corporate and installation sectors continues to grow, the need for one piece of the integration puzzle was becoming increasingly apparent: a dedicated control and monitoring software for these respective series.
To address this need, Netgear has unveiled the first details of its new software controller at the recent ISE show in Barcelona. The Engage software confirms Netgear’s commitment to providing users with a complete AV networking solution, including both hardware and software.
With some AV installations consisting of hundreds of devices, centralized configuration and monitoring software is becoming a key part of emerging requirements. The software is also aimed at technical service providers who want to be able to deploy audiovisual network infrastructures quickly.

Kindly, Netgear shares with us here a preview of its upcoming control and monitoring software that will be available soon.

Launching The Software

Engage is a software that is compatible with Windows, Mac and, soon, with Linux, as well. The application automatically unpacks and launches itself, and does not require installation. The software operates on the concept of “sites”, where a site is an installation or event with Netgear switches.

Figure 1. The site setup page (source: Netgear).

The user is prompted to select the network interface they wish to use to communicate with the switches.

This is where an interesting point comes up: Netgear switches are delivered from the factory without a unique IP address, but have a control port called OoB (Out of Band), which by default is in DHCP client mode, i.e. the port is waiting to be assigned an IP address by a DHCP server. If no DHCP server is present on the network when the switch boots up, the OoB port automatically switches to the default IP address 192.168.0.239.

Figure 2. The network configuration page: here the user can choose to use a static or dynamic IP address, or activate a DHCP server to distribute IP addresses to the switches (source: Netgear).

The switches also have a VLAN 1 management interface, which is also a DHCP client by default. Similarly, if no DHCP server is present on the network, the VLAN 1 management interface automatically switches to the default IP address 168.255.100.100
The user can thus create a DHCP server via the ENGAGE interface, and automatically assign addresses to the switches, and configure them together without IP address conflicts; very practical!
This DHCP server can then be deactivated, once the IP addresses of the switches are correctly assigned by ENGAGE.

Detecting and adding switches

Engage will automatically detect switches using Universal Plug and Play (uPnP) technology, making it easy for users to add them to their site.

Figure 3. By clicking on the “Onboard” button, the user can add switches to his project (source: Netgear).

In their software documentation, Netgear states that there are three possible scenarios for passwords when adding switches to the site:

– Scenario 1 : Le switch est ajouté avec son mot de passe personnalisé. Après l’ajout, ENGAGE remplace le mot de passe du switch par le mot de passe du site

– Scenario 2 : The switch is added with its default password. After adding the switch, ENGAGE replaces the switch’s password with the site password

– Scenario 3 : The switch is added with the site password. The switch must have the same password as the site password, otherwise an error message will appear.

Figure 4. The window for adding a switch in Engage (Source: Netgear)

When a switch is added in ENGAGE, the software will automatically update the switch. This is important, so it is advised not to perform this operation during the production phase of a project.
Engage also memorises the serial numbers of the devices added in a site. Once the IP address of a switch has been changed, it does not have to be added to the site again.
When this operation is complete, the user can start configuring all of the switches from a single interface.

Configuration

Figure 5. This page displays the devices that have been added to the site (Source: Netgear).

Using ENGAGE, the user will be able to administer the newly added switches to the site, modifying their IP address, name, etc. The same functions are available as in the AVLine range, namely the possibility of using predefined profiles (Audio, Video over IP, light…) for the creation of VLANS, and doing so at the network level.

Figure 6. The profiles page. The user can also create customised profiles.

Figure 7. For example, the user can create a profile for Dante, and assign the switch ports to this VLAN, assigning a colour code to facilitate identification (Source: Netgear).

Monitoring

A “topology” tab also provides an overview of the connected devices and the status of each.

Figure 8. The network topology overview (Source: Netgear).

Hovering the mouse over the connected devices displays information such as name, IP address and MAC address.
When it is desired or necessary to update the switches in a network, it can be tedious to update them one by one, especially in large installations. Engage provides a tool to update all switches from a centralised location.

Figure 9. The update tool. Here you can verify the current firmware version, as well as the previously installed firmware (Source: Netgear).

Even though this very early version offers some basic monitoring tools for switch users, the tool is user-friendly, straightforward, and maintains the configuration philosophy that started with the M4250 series.

Both new and experienced users will be able to rely on ENGAGE for deploying powerful network architectures, but with a simplified workflow.

However, there’s no doubt that the Netgear team will be delivering future updates, with features for visualising the protocols and services that are important to AV network administrators. We can’t wait to test it!

More information on the Netgear website

Perched on the summit of the Großer Feldberg in the Hochtaunus region of Hesse, Germany, the Feldberghaus offers visitors a magnificent view of the surrounding Rhine-Main region. In summer 2022, the historic building was reopened with a new concept as a reinterpretation of the original restaurant from 1860.

Today, the Feldberghaus houses a restaurant, a large beer garden, a seminar room, and the registry office with the highest elevation in Hesse. In addition, the premises can be rented as a versatile event location. The multifunctional use of the Feldberghaus also required a new sound system which, in addition to a flexible multi-zone sound system for the indoor and outdoor areas, would also need to be suitable for higher live sound volumes.

In accordance with the complex catalogue of requirements, integrators eCon GmbH & Co. KG relied on the installation loudspeakers of the LD Systems DQOR Series and the ZONE X 1208 D matrix processor.

“The central control element for the audio control of the sound system in the various rooms and areas is the ZONE X 1208 D zone mixer,” explains Moritz Stüve, Managing Director of eCon Eventtechnik, responsible for the planning, execution and programming of the audio system in the Feldberghaus.

“With its hybrid architecture based on a DSP matrix, the ZONE X 1208 D enables flexible routing options via presets, and automatable switching processes. For control, our customer uses an Apple iPad with the corresponding App for easy control of the audio zones. In addition, thanks to remote control, we can access the zone mixer at any time via the house network using the internet connection from our offices if changes are required.” Moritz Stüve, Managing Director of eCon Eventtechnik

Sound in zones

As the heart of the sound system, the ZONE X 1208 D controls the four zones: terrace, bar, studio, and guest hall.

To minimise power losses on the long cable runs, the chosen DQOR 5T 5” 2-way loudspeakers (passive) are equipped with low-distortion transformers for 70V/100V systems.

Bass support and amplification are provided by the 10” CURV 500 I SUB installation subwoofers, which are mounted high above the guests’ heads with flat wall brackets.

Sufficient power reserves for the total of 28 DQOR 5T units are provided by the two IPA 424 T installation power amplifiers, and the CURV iAMP installation power amplifier for the two CURV 500 I SUB.

For the bar area, eCon relied on DQOR 8T 8” 2-way installation loudspeakers, which, in combination with the IMA 60 installation mixer amplifier in a compact 9.5” cabinet, are designed for both dignified bar operation and party events with higher level requirements.

To even better meet customer requirements for higher sound levels for live events, eCON also opted for two LD Systems MAUI 11 G2 column PA systems. These portable PA systems can be easily connected to the house system and provide powerful sound support in any room as required.

Control via iPad

In daily operation, the Feldberghaus uses an iPad for uncomplicated control of the entire sound system. Due to the wall work already completed during the renovation process, it was not possible to pull any cables afterwards, so eCon set up a standalone W-LAN connection for wireless access to the ZONE X 1208 D.

Safety first

The historic Feldberghaus has an open roof construction made of natural wood, which is why the fire protection devices are of particular importance. In the event of a fire alarm, it must be ensured at all times that the public address system is immediately muted. Thanks to the eight GPI (or even GPIO) logic ports in the ZONE X 1208 D for automated and prioritised switching operations, eCon can easily meet this requirement.

Further information:

feldberghaus.com
econ-kg.de
ld-systems.com
adamhall.com

Introducing High End Systems Halcyon, the next generation of automated framing luminaires from ETC. Created to meet the needs of rental operations, theatres, and opera houses, Halcyon is a family of framing fixtures designed for the exacting demands of lighting production. Offering reduced cost, reduced weight, and increased output, Halcyon fixtures are each best in class and engineered to fit into every spec for every design.

Offering matching feature sets and performance across all fixtures, the Halcyon range consists of Gold, Titanium, and Platinum. Halcyon Gold outputs 31,000 lumens and is ideal for short to medium throw applications. Designed for medium to long throws, Titanium outputs 40,000 lumens.
And for the most extreme light at the farthest distances, Platinum offers unprecedented light output at 54,000 lumens, with an incredible 70,000 lumens in boost mode. With a new industrial design, each Halcyon fixture is smooth and sleek enough to blend into your rig.

Halcyon has two LED engine options for maximum versatility. Halcyon’s color mixing system uses tighter, next-gen gradient dichroics and a linear mixing curve supported by ETC’s renowned color science for smooth and even colors, both in and out of focus.
With full curtain framing on four focus planes and extended framing rotation, Halcyon provides all the tools to perfectly shape every show. A new, custom selected package of patterns brings a full library of aerials, rotational effects, breakups, diffusion, and prisms.

ETC’s Trifusion system brings a wide range of diffusion with a single control channel, maintaining maximum output and even frost distribution across the field, and a smooth transition from a sharp edge all the way to a heavy wash. A continuously variable rotating animation wheel with linear insertion allows programmers to now control the animation’s angular position.
Patented Whisper Home technology employs a dual sensor system, allowing Halcyon fixtures to home with little movement, while also being quiet, fast, and precise. Halcyon is backed by ETC’s industry leading customer service, and is competitively priced without sacrificing on features or performance.

Automated Lighting Product Manager Matt Stoner comments, “The High End Systems SolaFrame changed how people do things in our industry, and we are excited to continue the revolutionary product line in our new Halcyon products. Over years of customer feedback and fixture usage we have learned so much and the Halcyon family is the culmination of that feedback, and a leap forward in smaller, less expensive, lighter, and better performance.”

Market Manager Tania Lesage adds, “There are thousands of venues around the world looking for lights with sharp projection, a versatile gobo package, and lush color mixing; that is exactly what we bring with this new framing family. High End Systems Halcyon was created by our award-winning automated design team with three decades of experience. If Halcyon piques your interest, come see us live at LDI, JTSE or MEET, or get in touch with your local dealer or rep for a demo.”

To learn more about Halcyon with a video presentation, click on the image below

Big concert tours were back in a big way this past summer and The Weeknd’s ambitious “After Hours til Dawn” outing is perhaps the best example. Lighting designer Jason Baeri is using over 450 Elation Proteus Hybrid and Proteus Excalibur moving head luminaires as workhorse fixtures on the tour, an elaborate, visually striking show that has been selling out major stadiums across North America since July.

The first leg of the all-stadium tour kicked off on July 14 at Lincoln Financial Field in Philadelphia and concludes on November 27 at SoFi Stadium in Los Angeles. The tour is also scheduled to visit South America, Europe, Asia, the Middle East and Australia.

Large-scale production

“After Hours til Dawn” is a monumental show that reflects the artist’s status as one of the world’s best-selling music artists and is his most ambitious production to date. The conceptual show, which springs from the singer’s latest two albums, After Hours and Dawn FM, features a huge stage, long runway and pair of B stages. An enormous 180-ft wide LED wall and lighting rig of over 1100 fixtures support a set that includes dystopian cityscape scenery and stunning 30-ft diameter moon.

Lighting had to cover a lot of ground on the production, matching the scale of the large LED screen and scenery elements but also working together with them. “The design was based on the extended concept of scale,” stated lighting designer Baeri, who has been working with the Canadian singer/songwriter on and off in various roles since 2015.

“The screen is one of the largest screens to ever tour. The scenery is massive and holds its own with ever present scale. The thrust and runway extends 300’ clear across the stadium. Everything in this show is a scale of nothing short of Gaussian proportions, so the lighting design had to be equally as massive to hold its own with the rest of the elements in the show. It is a high density rig designed around the ability to present giant statement pieces that fill the whole stadium for the entire 90 minutes of the show.”

Proven Proteus

Because lighting is exposed to the elements, including torrential rains, Baeri sought proven workhorse fixtures with an IP rating and turned to a line he has trusted in the past. “Elation pretty much owns the outdoor market when it comes to moving lights,” he states.
“The Proteus line is not just another product of theirs slapped into a waterproof shell. It is a well-thought-out line of fixtures designed not only to operate in inclement weather, but also to perform on a stadium scale with stadium reliability night after night.”
Baeri’s design incorporates 267 Proteus Hybrid and 191 Proteus Excalibur units as the two main workhorse fixtures of the rig. Both lights are powerful design tools with CMY color mixing systems and comprehensive effects packages.

Proteus Hybrid

“The Proteus Hybrid is one of my favorite lights on the market right now,” said Baeri, adding that he placed the fixtures in overhead positions to cover the huge set. “I’m always looking for a light that does its primary function very well rather than trying to do a hundred things well enough.

The Hybrid is a no frills, extremely bright and clean stadium spot fixture. It’s not a subtle light by any means, and I mean that in a good way. It is super strong, powerful with a super impressive zoom range, and is bright enough to still be visible as an aerial fixture hundreds of feet away even in a saturated color.”

Proteus Excalibur

The other major player in the show, the Proteus Excalibur, line the runway and stage for attention-grabbing uplighting effects. “This thing was made to shoot into space and be a culminated beam fixture that cuts through space,” the designer says of the 0.8° beam moving head that powers out 7500 lux @ 100m.

“I have never seen output like this from a fixture that’s not a large format architectural fixture. There is certainly nothing like it in the market. We lined the runway and stage edge with these and they would shoot thousands of feet in the air, so much so that we got messages from our friends miles away from the stadium with pictures of these things shooting into space. It’s like having a sky tracker that you can use as a quick responsive show light.”

Baeri says the Hybrid and Excalibur’s brightness was a key element for the scope of the show. “The throw distances for this show were close to 300’ in most cases and these lights held their own. They are fully featured lights that perform at brightness even while using their features.
Most lights of this class have great output, but the second you drop a feature or a color in, the output goes away. The majority of the show is in a red color space, and you could clearly see beams of light straight across the stadium in deep rich colors.” The designer adds that the gear has held up excellently, surviving “floods of biblical proportions without skipping a beat.”
Solotech serves as lighting and video vendor for the tour, fulfilling a rider of over 1100 fixtures in a market wrought with supply issues. “I couldn’t be happier with Solotech and the crew they provided for this,” Baeri said.

“When you break down the numbers, each member of the crew was responsible for about 200 lights, and they delivered day after day on a gigantic rig without ever missing a beat. They deserve the highest of compliments and my upmost gratitude. Rob Kennedy, our account manager, found everything we needed without skipping a beat or batting an eye. Just absolutely crushed it on this one.”

For more info about Elation Lighting, you can visit www.elationlighting.com

US rockers Panic! at the Disco kickstarted their highly anticipated Viva Las Vengeance arena tour at Austin’s Moody Center in September, with a 70s and 80s rock-influenced high-octane show. Conjuring up rich colors and sharp beams were 128 VL2600 PROFILE luminaires from Vari-Lite, the originator of the modern moving head entertainment lighting brand.

Celebrated production designer Sooner Routhier worked closely with the band and their management to design and build the show, collaborating with Alex Specht as Associate Lighting Designer/Lighting Director and André Petrus as Associate Production Designer/Lighting Programmer.
Together, they created a design that would take the audience back to the early days of large arena rock productions, as the band played their new album in its entirety in Act II of the show. (Acts I and III saw the group treat fans to their biggest hits.)

“We resurrected pods of lights seen in vintage rock productions and added a scenic fascia to them and the risers, giving a nod to the music video for the album’s first single, also called Viva Las Vengeance,” says Routhier, who has won many awards for her work with a wide range of artists including Coldplay, The Weeknd and KISS.
“During Act II of the show, we plunged the band into a vintage rabbit hole. We used vintage star filters on the IMAG screens and golden rain curtains flanking the screens to add the feel of a 60s televised game show.”

“We needed a lot of the same type of fixture for the pods, and I had demoed the VL2600s a couple weeks prior to the tour bid process and loved the idea of having a massive amount of them in the air. I also knew that Andre and Alex would program some incredible looks with that number of powerful profiles.

The VL2600s are perfect. There are tons of features making cuing and effects diverse. They were able to make the lights look like washes for some cues and huge gobo looks for others.”
The VL2600 PROFILE luminaires were rigged in eight pods flown above stage left and stage right, in view of the audience and rigged to showcase Routhier’s inspired design.

Alex Specht has worked as Panic! at the Disco’s lighting designer since 2014 and collaborated with Routhier to maximize what the VL2600 fixtures could offer. “The LED engine was one of the main things that made the VL2600s right for this project,” says Specht.

“I’m most impressed with the zoom and iris ranges, which helped separate the looks of each act. The VL2600s helped us create sharp beams and aerial gobo scenes for Acts I and III in the show, and a wider ‘par can’ feel for Act II. I feel we found a balance of light, video and negative space, with each feature showcased well when the time comes to shine. The VL2600s played their parts spot on.”

Programmer André Petrus is controlling both the lighting and the video aspects of the show. “Vari-Lite has always used high quality glass and it shows,” he says. “The rich color of this LED profile was in my opinion the most impressive feature. And when it comes to brightness, we spent a good amount of time balancing this with the video. Just because the light can go to 100, doesn’t mean you have to take it there. The VL2600s still cut through even at high trim.”

The VL2600 luminaires were supplied to the Viva Las Vengeance arena tour by PRG, with Anthony “Looch” Ciampa as account representative. Panic! at the Disco play dates throughout North America this fall before taking the tour to Europe in the spring, ending with a finale at Manchester’s AO Arena in March 2023.

For more info about Vari-Light and their lighting fixtures, you can visit the Vari-Lite website

It is with great sadness that the Showlight Committee announces the postponement of Showlight 2023. The popular quadrennial networking event was due to take place in Fontainebleau, France from 20th – 23rd May 2023.

In a statement from Showlight, Chairman John Allen explains the reasons behind this decision: “It is after lengthy consideration and with much deliberation that we have decided to postpone Showlight 2023. The plans and preparations for Showlight in Fontainebleau have been underway since 2018 and although the Covid lockdown took two years out of our work, it was always our intention to hold Showlight in 2023 following the lifting of Covid restrictions.

“Fontainebleau is a beautiful town with an intimate theatre and a wonderful chateau as well and it is an ideal place for our quadrennial event. Plans progressed with this aim in mind. However, developments over recent weeks have raised concerns about the viability of holding Showlight next year. The major problem is that of costs for the event which have risen considerably at a time when inflation in the UK and across Europe is rising.

“When we first budgeted for Showlight in Fontainebleau, in 2018, the future looked good, but the combination of Covid, the current political and economic state in Europe, and more recently, uncertain final costs for the event, have put Showlight in severe jeopardy of failure, both with the standard of our unique event and also in its cost.

“As a result, the directors of Showlight Ltd have decided that we need to postpone next May’s event. I know that this will come as a shock to many, I am also very disappointed and quite despondent that we have had to reach this decision but there is no alternative at present.
“I would like to thank all those who have wholeheartedly supported us in our work so far and the delegates who so faithfully return to Showlight on each occasion. In the early part of 2023 we will be holding a committee meeting to determine where Showlight goes from here and will keep you updated with all future plans.

“Thank you for your support and understanding.”

L-Acoustics announces the creation of a new sales organization that allows the company to drive its ambitious vision to deliver exceptional audio experiences for audiences worldwide through constant technology innovation, product development, and educational outreach.

Renowned for creating the tools that deliver exceptional audio performance, the company is now poised to extend even more robust commercial support for global partners and clients across diverse markets and territories.

L-Acoustics CEO Laurent Vaissié.

The new L-Acoustics sales organization is focused on sales strategy, business development, and building territorial sales channels.

Under the general management of L-Acoustics CEO Laurent Vaissié, the new team will be spread across three divisions:
– Sales and Sales Operations will focus on developing regional sales channels;
– the Business Development team will concentrate on developing commercial expertise and end-user outreach in key vertical markets;
– and the Strategy Leadership team will develop mid- to long-term go-to-markets strategies and key partnerships as well as manage resource planning and market intelligence.

Jochen Frohn

The new organization emerges with the retirement of Executive Director of Business Development Jochen Frohn who, for the last 14 years, has set the vision for the global sales team. Frohn has created a legacy of performance and record-breaking results, while developing talented teams.

“Jochen helped L-Acoustics build the strongest sales organization in the industry, centered on long-term growth, developing deep client relationships, and offering premium brand support and performance. We are grateful for his indelible contribution,” expressed Vaissié.

“Following two years of preparation working with Jochen and our team on this transition, I am excited to announce the new sales organization, which has been designed to support exceptional market demand and fulfill our long-term vision.”

From left to right: BJ Shaver, Director of Sales, Americas; David Cooper, Director of Sales, APAC; Nick Fichte, Director of Sales, L-Acoustics Creations; and Jacob Barfoed, Global Director of Sales and Sales Operations.

Heading up the new Sales and Sales Operations division, Jacob Barfoed has been promoted to the position of Global Director of Sales and Sales Operations.

Having joined L-Acoustics earlier this year to head the company’s EMEA sales, Barfoed now takes on the responsibility of leading the Territorial Sales Teams, as well as the Sales Coordination and Customer Service teams.
In his new role, he will drive the overall productivity and effectiveness of the territory sales organization and lead sales growth, while building and maintaining long-term business relationships with key clients of the global L-Acoustics network. Barfoed brings unique value to his role thanks to 20 years of experience at Sony Professional, where he developed an intimate understanding of the customer, distribution channels, and broader business environment of the professional A/V industry.

Jacob Barfoed, Global Director of Sales and Sales Operations.

“It’s an honor to carry on Jochen’s legacy, and to lead this team of talented professionals who have proven their ability to create sustained growth,” states Barfoed. “This new organization heightens our strengths and poises the team to deepen our relationships with partners, clients, and end users in diverse and key markets across the globe.

Barfoed is supported by David Cooper, Director of Sales APAC, and BJ Shaver, Director of Sales Americas, and will continue to support EMEA sales operations while the company completes its search to fulfill the Director of Sales EMEA position.

Also reporting to Barfoed, Nick Fichte has been promoted to the position of Director of Sales, L-Acoustics Creations. Newly integrated into the global sales division, Fichte will spearhead the global sales strategy and development of the fast-growing L-Acoustics Creations network of certified integrators, driving ambitious growth in the residential, marine, and architectural markets. Before joining L-Acoustics in 2020, Fichte was a sales leader in residential business development at Crestron.

Oksana Mudrak, Global Head of Sales Coordination.

Within the Sales and Sales Operations division, Oksana Mudrak moves into the role of Global Head of Sales Coordination, managing the highly effective, multi-cultural sales support teams in the APAC, Americas, and EMEA regions. Mudrak will harmonize and strengthen L-Acoustics elevated standards of sales coordination across the globe to continue to ensure a high level of customer satisfaction.

“This new partner-focused organization will deepen our commitment in all three regional markets, develop our network presence globally, and allow us to strengthen commercial support to the L-Acoustics network of certified providers,” concludes Vaissié.

More information on the L-Acoustics website

The Rolling Stones took to the road this summer for their first European tour since 2018 with their new show, SIXTY, in celebration of their 60th anniversary. The show had a new set design by Stufish and lighting by Patrick Woodroffe, the Stones’ lighting designer and creative director for over 40 years.

© mhvogel

“When designing a European tour, you must consider the vast range of weather conditions you might meet across the summer from beautiful sunny days to end-of-the-world storms,” says Terry Cook, associate lighting designer at Woodroffe Bassett Designs.
“One thing Ayrton has become famous for is their high-powered IP rated fixtures. On the 60th Anniversary Rolling Stones tour we have 83 Ayrton Perseo Profiles over the stage. We have used these units on multiple shows and found them to be bright and reliable.

“At FOH, for the first time ever, we specified 10 Ayrton Domino LT units attached to the FollowMe. This is a new Long Throw unit of the Domino range, and is also IP rated so it takes the weather concerns away. Our spot towers moved around a lot from venue to venue but we found having the Domino LT spot very useful and the light performed well.”

An additional 12 Domino LT fixtures were also chosen for exposed positions at the front of the stage, all of which were supplied by Neg Earth Lights.

© mhvogel

“With a new scenic and lighting design for the Sixty Tour, Patrick and Terry (Cook) took the opportunity to add many more Perseos and Domino LTs to the design,” says Rolling Stones lighting director, Ethan Weber. “Pretty much everything that is exposed to weather and/or hard to access is now an Ayrton product. Nearly every light that is crucial to the show – spots and keylights – are now Ayrton because of their intensity, reliability and IP65 rating.”

Nine Perseo Profiles are hung on the downstage edge of nine overstage finger trusses and used to keylight the backing musicians; thirty-six more are rigged on two pairs of ladders upstage and mid/downstage, and 42 Perseo Profiles are positioned on the floor with 24 on the left and right screamers, and 18 in upstage positions behind the band. Twelve of the larger Ayrton Domino LT are also sited on the downstage floor with 6 per side lighting the fascia.

© mhvogel

“The Perseo units on the floor and torms are all for wash and effects,” says Weber. “Great lights. Bright, smooth dimming, good colour mixing, impressive zoom range… The Stones setlist doesn’t often include too many songs that are gobo friendly, but we do get a few patterned looks in there and I was impressed with the gobo selection.

“The Domino LTs on the wings and front stage are used to light the upper parts of the downstage fascia. We don’t use much of their effect capabilities, but their intensity, zoom, shutter and, again, reliability, made them the perfect light for the job.

Perseo Profile

Domino LT

“The LED source is very important to us as well. We haven’t been asked to account for our energy consumption, but morally it’s definitely a step in the right direction. The fact that our only significant power draws are when we’re testing the system, when I’m using the lights for late night focus/programming sessions and during the running of the show, goes a long way towards helping to ease my moral conscience.”

The 10 Domino LT fixtures used as followspots with the FollowMe system are rigged on two of the front of house towers with an average throw distance of 125’/38.5m. The five remote followspot operators are positioned more comfortably in the control tent with the rest of the lighting team.

© mhvogel

“This was our first tour with remote followspots – a big decision for us,” says Weber. “Our standard followspots, stacked 4 high, house left and right, always bothered me – all but the top spots were too low and washed out much of the stage. There have been systems out for a few years now that could probably handle the job, but it was the combination of the Domino LTs’ intensity and, especially, IP rating that swayed us.

“In my first discussion about them with Keith Johnson, our crew chief, I asked if he was going to weather-proof them ‘just in case’. He said ‘no’. I was a little worried until the first big rain, then not a thought about it after. Ayrton’s given us some very impressive lights to play with.”

The 14-date stadium tour of Europe kicked off in Madrid on 1 June and concluded on 3 August in Berlin.

© mhvogel

The link to the full story on https://www.ayrton.eu/live/

For more information on Ayrton Domino LT, Perseo Profile and the full range of Ayrton LED lighting fixtures, visit www.ayrton.eu

Zone is a series of zonal audio controllers with DSP and advanced configuration via WebApp. They are easy to install, intuitive to operate and comprise 4 or 8 zone powered and non-powered versions.
WebApp brings the technology behind the Zone controller series to the end-user. Traditionally, the control and operation of commercial sound systems has been a complicated inconvenience to many users, who just want the system to work. WebApp puts all the functionality that an installer requires, as well as the ability to then present effortless and intuitive control, into the hands of the end-user.

With slick touchscreen-optimized controls, the WebApp is designed for ease of use on any device. The responsive and intuitive interface lays out the fundamental controls in a clean, accessible format with the deeper, lockable layers for system configuration available for integrators and system commissioners.

Complete system configuration can be achieved through the WebApp with ducking, EQs, limiters, advanced signal routing, programmable presets, timed events and much more. WebApp also allows for the system configuration files within Zone series products to be saved and easily replicated across multi-site installations.

WebApp Getting Started Video

Version 1.0 is now available to download from Optimal Audio’s website and offers extensive new features, audio settings and improved user interface (Download with link here)

Installers can now hide unused zones to create a cleaner interface, as well as having the ability within each zone settings page to hide sources from the selection list and the microphone volume controls. This ultimately can mean presenting the end-user with just the zone name and volume control – nothing could be simpler.

In addition to the existing 3-band EQ that works with the speaker tuning presets, an extra 3-band User EQ is now available to the installer on every output, all 8 line outputs and 8 amp outputs. Pairs of outputs now also independently support a bridge mode both for low impedance and for driving 70V high impedance speakers, and presets also now include Sub 10 and Sub 15 tunings.

The microphone EQ.

For the installer, a clearer display for the fixed analogue EQ band has been added to all microphone EQs. To assist navigation and triggering of presets, the launch icon is now labelled.
The preset list view can be re-ordered in Edit mode and helps to create a tidy list of the available presets. The installer page also has a new metering view which includes all the meters in the DSP for viewing system signal flow in one place.

Finally, Open Sound Control over Ethernet is the Zone control method from 3rd party controllers. In previous versions, only UDP message control of Routines was available but V1.0 adds support for UDP and TCP control of Zone parameters. Included in the release are a collection of example design files for TouchOSC to demonstrate use of OSC control. These give examples of every parameter, status and name to be the basis of control panels tailored to the specific application.

Matt Rowe

Summing up, Matt Rowe, Head of Engineering, commented: “WebApp is our secret sauce to the success of Optimal Audio’s eco-system, and with this latest release we have extended the possibilities for the system integrator while improving the simplicity that can be presented to the end-user.”

For more information on the Optimal Audio website

Cameo presents the new P-Series. The LED profile spotlights are aimed at professional users from the theatre, TV and event sectors and are available in Tungsten, Daylight and Full-Color versions.

In addition to its light output and flexible handling, the P-series also convinces with its high CRI and TLCI values as well as a lifelike white light and colour rendering.

Whether in the theatre, in a TV show or on an event stage, people and objects must always be optimally illuminated to give spectators and cameras a perfect picture of what is happening. Those who set people and objects in motion in scene with only one light beam must also be able to rely on two aspects: Handling and lighting quality.

P2 T

To meet these requirements of lighting designers, directors, agencies, artists or company directors in any situation, Cameo has developed the P series.

At the start, the P series includes the P2 T (Tungsten, 3,200 K), P2 D (Daylight, 5,900 K) and P2 FC (Full-Color, RGBAL) models.
With a light output of up to 17,000 lm (P2 FC), the P2 profilers are the perfect replacement for conventional 1kW profiled spotlights.

P2 D

The units can be flexibly adapted to different stage requirements via a variety of optional interchangeable lenses. There is a choice of interchangeable lenses with fixed beam angles (19°, 26°, 36° and 50°) as well as zoom lenses for the ranges 15°-30° and 25°-50°.

Even more versatile is the use in combination with the optionally available Cameo iDMX Stick to control the LED profile spotlights not only via DMX and RDM, but also wirelessly via W-DMX.

P2 FC

In the development of the P-series, Cameo has consciously orientated itself on the extremely successful theatre and TV spotlights of the F-series. Thus, the F and P series harmonise with each other both visually and in terms of their photometric properties, forming a perfectly matched lighting duo for theatres, TV, congresses and corporate events.

The Cameo P-Series expected to be available in December.

Further information:
cameolight.com/p-series
adamhall.com
blog.adamhall.com

DJ, music producer and creative live experience imitator Michael Canitrot presented another innovative ‘Monumental’ show, this time in front of the incredible Cathedral Notre-Dame of Laon in the city of Aisne in the Hauts-de-France region of France.

A special musical performance was created for this magical event which was presented in collaboration with design collective AV-Extended led by Jérémie Bellot, featuring a giant video mapped projection show onto the front of the Cathedral’s imposing 56m-high façade, supported by a light show designed by Mikael “Mika” Trochu utilising 56 x Robe moving lights.

This followed Michael Canitrot’s 2021 Monumental Tour, a series of unique site-specific performances staged at some of the most spectacular heritage landmarks and monuments around France.
Robe Fortes and MegaPointes were chosen for their power, brightness, and impact as well as their dynamic feature sets, and were located all around the front of building on the ground and on a balcony at approximately 50 metres up the front of the building.

They were used highly effectively to create multi-layered effects on the Cathedral, including the two main façade towers that overlooking Laon old town, and also to shoot striking and potent beams into the skies.

At the front of the building, either side of the stage, seven MegaPointes were deployed on the garden side with more on the courtyard side. Lined up adjacent to one other on special platforms, they highlight and texture the Cathedral walls including the arch ceilings of the two large, recessed side doors.
On the front balcony, 15 MegaPointes were deployed and used for colouring the top half of the façade, the back walls under the higher up arches, and to blast piercing beam effects towards the city, cutting through the night skies.

This was a painstaking and laborious task in terms of rigging. The technical teams had to access the balcony and manually carry each individual fixture via a network of narrow, twisting staircases up to the first-floor level, and beyond that for the MegaPointes that were positioned even further up in the two towers.

Five MegaPointes a side were positioned inside the top of both the Cathedral towers at elevation of 20 metres above the balcony. These were used to illuminate the underside of the tower vaulted ceilings which added depth and volume to the video mapping in this area and indeed to the whole picture!

Mika deployed three Fortes inside the Cathedral, one central to illuminate the main rose window flanked by the other two left and right to back-light the two lancet windows of the facade. Another 8 x Fortes were positioned at the back of the forecourt behind the audience at the control room level for key-lighting the artist and for picking out specific façade details like the magnificent huge central rose window.

Mika explained that the power of the Fortes allowed him to “texture the Cathedral’s facade both during the quiet moments as well as make major statements during the intense moments” of the narrative. One idea with the lighting design was to be able to fragment and “cut” the façade vertically to create an illusion of parts disappearing or being removed from the overall picture thanks to the strong contrast between the lit and unlit areas.

“The accuracy and flatness of the Forte shutters when 100% open and zoomed simply blew me away,” Mika stated. He thinks that no other light would have offered better functionality in these two areas – power and shutter linearity / accuracy.
Mika also appreciated the gobo and effects wheels, describing these as “incredible”, enabling him to produce spectacular effects during segments of the music that needed super-punchy lighting treatments.

He used a grandMA2 console for programming and running lighting, and all the lighting equipment was supplied by BDL Event group. The get-in was completed over two days by a crew of 8 for lighting, video, audio and power including Jérémie Bellot from AV-Extended and technical director Martin Javouret. They worked with a local crew of 8 x stagehands.

This unique musical and visual show on Laon Cathedral was experienced live by over 2,500 spectators gathered in the square in front. Built in the twelfth and thirteenth centuries, this seminal heritage site is one of the most important and stylistically unified examples of early French Gothic architecture.

Watch a short-form of the Laon Cathedral Monumental show here:

The Monumental Tour is an incredible journey that germinated from Michael Canitrot’s love of music and monumental architecture and started during the Covid lockdown period, combining streamed live music performances and visual collaborations involving epic, iconic and outstanding monumental sites all around France. It started back in the summer of 2021 at the Phare des Baleines (Lighthouse of the Whales) on the Ile de Ré, and the previous show to this one at Laon Cathedral with lighting.

also designed by Mikael Trochu (Mika) was at the Chateau de Pierrefonds in the picturesque Oise region. All these Monumental performances have involved the use of Robe moving lights.

For more info about Robe Lighting, you can visit www.robe.cz

Total Solution Marketing, Ayrton’s exclusive distributor for the Singapore region, is very happy to announce the purchase of 24 Ayrton Diablo S LED profile fixtures by Trio AV.

The Trio AV team with their newly acquired Ayrton Diablo S fixtures.

Trio AV has a strong reputation for supplying exactly the right products and technical expertise for every possible event, from exhibitions, seminars, conferences and product launches, to galas, special events and parties. With offices in Singapore, Thailand, Shanghai and Vietnam, Trio AV’s services include everything from conceptualisation to full consultation and supply.

Trio AV’s John Tang explained why the company had chosen Diablo S, one of Ayrton’s most innovative, ultra-compact luminaires: “We were seeking a small size and lightweight LED moving light profile fixture with framing shutter to replace our older fixtures. We had heard a lot of positive feedback and seen the popularity of the Ayrton Diablo S on the market, so we approached local distributor Total Solution Marketing to get a demo unit for our own evaluation.

“We compared it against other similar fixtures and the Diablo really stood out from other brands. It has a great zoom range, is very bright for 300W LED engine, with smooth dimming and good shutters. It is compact and lightweight, so easy for our technicians to rig. It meets all our requirements.
“Also, we have received great service support from Total Solution Marketing for many years, so all this made our decision easy.”

In designing Diablo, Ayrton took on the challenge of making the smallest, lightest and most efficient luminaire of its category. To achieve this, Ayrton miniaturised the framing system whilst maximising the performance level, and packed a wealth of features into a fixture that weighs just 21.8kg with a record output of 19,000 lumens.

Tang was enthusiastic about Diablo’s many uses and his technicians’ response to working with the fixtures. “The team love the versatility of Diablo S because we can use them for various market segments, including corporate, live events, TV and theatre. The build quality and performance have proved excellent so far. It has exceeded our expectations and is very popular with our clients due to the many great features, good output, great zoom range and the compact size and weight.”

Looking to the future Tang is certain of success with this fixture. “We plan to add more Diablo S luminaires to our stock. It has proven to be a great investment and is getting ever more popular in our region.”

More information on Ayrton Diablo and Ayrton’s full range of LED lighting can be found at www.ayrton.eu

And on Trio AV and Total Solution Marketing Pte Ltd